After watching Kenneth’s Branagh’s Film I knew what exactly I wanted to write about my paper. When watching his film I could instantly pick up the difference between the movie and the novel.  The intensity I felt when watching the the film was far more than what I had felt when reading the book. I knew I needed to not only write on how it was different but also why. In my original essay I touched on how the visual dynamics of film helped changed the theme but I had left out how the audio dynamic played a role as well. In the revised essay I made sure I added that as well as strengthening my introduction and conclusion.

A struggle I faced with writing this paper was describing the movie scenes. There was so much detail and so much going on at one describing it all would just taken up to much space. It was difficult to decipher what parts had to stay and what had to go.  I found interesting the small details that go into film that the director adds. These details can easily overlooked by the audience. For example it took me three times of watching Caroline’s death scene before I noticed that the camera was acting as the eyes of someone right in the scene. Once I discovered this I looked at Waldmen’s death scene again and noticed it there as well.

If i had more time and space I would of no just go over how the film differers from the book but I would add how it differers from hypertext. I would of compared all the differences with the Branagh’s film Mary Shelly’s Frankenstein, Mary Shelly’s novel Frankenstein, and Shelly Jackson’s hypertext Patchwork Girl.

In Shelly’s novel Frankenstein, death seems irrelevant before Victor creates his monster. In chapter five, Victor briefly mentions his mother’s death.  Shelly makes it clear that there is more important material to focus on other than Caroline’s death.  However, Branagh’s film makes it clear that Caroline’s death plays an key role in Victor’s motive to create life. Branagh not only changes Caroline’s death to a more violent and gory one, but also dedicates an entire scene to it.

The scene begins with the Frankenstein family dancing in the ball room, when suddenly Caroline faints to the floor.  The scene then shifts to Caroline covered in blood moaning, “Just save the baby!”  Victor hears the cries of his blood-soaked father and races past him to find Caroline dead on the floor. The scene ends with Victor sobbing over his mother’s bloody body repeating, “bring her back!”Victor is introduced to the pain and suffering caused by death for the first time, and therefore begins to fear it. The film flashes forward three years later with Victor standing over his mother’s grave. Victor whispers in despair, “Oh mother you should of never died. No one need ever die. I will stop this, I will stop this, I promise.” Victor feels that no one should ever go through the pain of losing someone close, and promises to put an end to death. It is obvious that Victor fears death, and it is apparent that he would do anything possible to prevent it from happening again.

Branagh reinforces his theme by creating a death as well as adding important dialogue in the Professor’s death scene . The scene opens with Victor, Henry Clerval, and Professor Waldmen at the dinner table. Victor explains to the two, “The best way to cheat death is to create life.” Victor voices to the audience that it is possible to prevent death, and that the best way possible is by creating life.  Branagh creates the death of Professor Waldmen, who never died at any point during the novel. In this scene Professor Waldmen is stabbed in the chest by a homeless man. The scene then jumps to Victor covered in blood violently pounding his professor’s chest trying bring him back to life.  Victor finds himself once again in the presence of death, helpless in saving his professor. Soon after Waldmen’s death, Victor takes action and begins his experiment to create life.  In other words, Waldmen’s death was, “the straw that broke the camel’s back.”

Branagh uses the medium of film to direct the viewer’s attention to why Victor fears death.  Unlike a novel, a film provides the audience with a visual perspective of the story. This visual perspective allows the audience to experience the story as if it was taking place right before their eyes.  Branagh takes full advantage of this aspect, and applies it to its fullest in both Caroline’s and Professor Waldman’s deaths.In Caroline’s death scene the viewer is transported right into the Frankenstein mansion, becoming an eyewitness to  Caroline’s agonizing death.  Branagh uses the camera angle to create the illusion that the viewer is standing right behind Dr. Frankenstein watching helplessly, as Caroline breathes her very last breath.  This same illusion reoccurs once again in Professor Waldmen’s death scene. As Professor Waldmen lies dying on the table, the camera is at level with Victor and Henry.  The view violently shifts back and forth from Victor’s face to Henry’s face, again giving the viewers the sense that they are directly across from the students while they franticly try to bring their professor back to life.  Due to this visual perspective, the viewers are able to relate to Victor; for Victor is powerless to save his professor from death so are the viewers. The visual perspective generated in Branagh’s film is a unique characteristic that cannot be matched from a written novel, or any form of written text.

Branagh uses the dynamics of sound to intensify the emotions evoked in both Caroline’s and Professor Waldmen’s death scenes.  Caroline’s death scene open first with joyful music playing while the Frankenstein family dance, laugh, and socialize. The music suddenly cuts short ending in an unpleasant sound, baiting the audience into thinking something has gone wrong. But, in fact, Justine, who was playing the piano, just missed a key. This sudden stop tricks the audience  into thinking something bad is going to happen. But it isn’t until the audience thinks all is well again that Caroline unexpectedly faints to the floor and the scene shifts to her gruesome death. The mood of the scene changes from joyful to stressful, as does the mood of the music. With a brief moment of silence in between, the once happy melody made by the piano is transformed into a stressful melody of a symphony.  Branagh uses the background music to create a enormous build up, and sending the audience on an emotional roller-coaster. The audience is also bombarded with the moans of Caroline, the weeping of  her husband, the crying of  her baby, the screaming of her son, all traumatic emotions to hear.  Branagh reuses the same audio aspects in Caroline’s death scene to intensify the emotion of Waldmen’s death scene. The moment Waldmen is stabbed a blast of music rushes to the audiences ears. The style and pace of the background music is once again filled with intensity and stress. The scene carries over to Victor violently pounding his professor’s dead body. The audience hears the panic in Victor’s voice as he screams and also hears the pounding of his fist on his professor’s chest. In both these scenes the emotion is intensified though what the audience hears.  They experience the horrors faced by Victor through hearing the traumatic events that drove him to create life.

If we look at film closely, it is typically more emotion-generating than written work.  Both the visual and audio aspects of film intensify the emotion the story draws from its audience.  By taking away one of those characteristics, the story can lose much of its emotion.  For example, if you have ever watched horror film, you’ll know that if you mute the sound it become far less scary.  This also applies to the visual aspect:  If you close your eyes, the horror film can be less scary.  I do not think you’ll ever see a person jump out of their seat while reading a scary book, but it is safe to say that if you go to your local theater you can find people screaming and covering their eyes while watching the latest horror film. Branagh takes Shelly’s story and puts his own little twist on it by adding graphic scenes and dialogue that can’t be found in the novel. These scenes reshape Victor into the most tragic of heroes.  Furthermore,  they define Victor as a man who paid a far higher price than death for his attempt to save all humankind from death.  An accomplished author could rewrite the novel changing Victor more into a tragic hero, but it would lack the dramatic affect that Branagh’s film creates. The impact of watching poor Victor suffer throughout the film, and witnessing the dramatic deaths he witnesses, is far more intense and dramatic than that in the written version.

A simple task such as opening a book could be under appreciated until one is introduced to Jackson’s hypertext, Patchwork Girl. The modern medium of a hypertext turns the painless task of opening a book into a complex process that stalls the reader from jumping right in to the story. The process of starting a computer and then inserting the disk is far less convenient than just grabbing and opening a book. It also can be fairly tricky for those who are unfamiliar with computers, and that characteristic alone could push potential readers away. In our world today, time is far more valuable than any currency we have, and the more time efficient an activity, the appealing it is to us.

People today have become accustomed to the traditional linear format of a book, where there is a beginning, middle, and an end. When that format is changed into that of a hypertext, even someone who falls at the highest levels of reading and writing, will feel lost in what they are reading. Birkerts (an author who’s life revolves around both reading and writing) explains his first encounter with hypertext in his book, The Gutenberg Elegies. He describes the structure as a “map of an elaborate garden” with” maze-like paths benches and nooks,”(Birkerts 151). He felt paralyzed in confusion from this unfamiliar format of a hypertext. Patchwork Girl is structured in a way that most readers are not used to-there is neither a beginning nor an end. It is structured similarly to a web site database, where the sections are not based on sequence but on relativity.

The structure of hypertext fails to grab the reader’s attention. The fact that there is no specific order in which the reader has to read makes it impossible for there to be a climax. Can it even be defined as a story if there is no climax? This poses a fairly large problem,  for how can the reader stay interested in the story if there is no real emotional build up? Without an emotional build up it seems difficult for the reader to be pulled into the story. Birkerts shares the same idea, stating that he felt “none of the tug,”(Birkerts 151) he had felt with books The satisfaction gained from the final chapter of a novel bringing an entire story together, is something that cannot be mimicked. Jackson’s Patchwork Girl lacks the thrust that pushes the reader into the story and keeps them from putting it down.

An important question to think about is; Will hypertext become the “book” of our age? The answer to the question is no. Although hypertext appears to be the more efficient way for an author to get their point across, it lacks the ability to pull the reader into the story. To Jackson’s credit Patchwork Girl has qualities that no other novel shares, but it lacks the key qualities that make a novel, a novel. For that reasonPatchwork Girl fails as a novel.

Patchwork Girl, like any hypertext, is dependent upon computers; without one it is simply just a piece of plastic. In the short run, this dependency binds the reader to the limitations of a computer, for the hypertext is programmed on a CD ROM. In the long run, Patchwork Girl’s reliance on computers could lead to its extinction. Technology is constantly changing – floppy disks evolved into to flash drives, tape cassettes evolved into to CD ROM’s, huge desk tops evolved into small laptops. In a hundred years from now, the technology today could be non-existent, and if that is true so will Patchwork Girl. Books on the other hand, have been around for over two thousand years and do not appear to be going anywhere anytime soon. They have endured time, unlike other mediums and have remained unaffected by our fast changing world.

A simple task such as opening a book could be under appreciated until one is introduced to Jackson’s hypertext, Patchwork Girl. The modern medium of a hypertext turns the painless task of opening a book into a complex process that stalls the reader from jumping right in to the story. The process of starting a computer and then inserting the disk is far less convenient than just grabbing and opening a book. It also can be fairly tricky for those who are unfamiliar with computers, and that characteristic alone could push potential readers away. In our world today, time is far more valuable than any currency we have, and the more time efficient an activity, the appealing it is to us.

The dictionary defines a “novel” as a fictitious prose narrative of considerable length and complexity, portraying characters and usually presenting a sequential organization of action and scenes. The definition of a novel itself is one of the strongest arguments pertaining to Patchwork Girl’s failure as a novel. People today have become accustomed to the traditional linear format of a book, where there is a beginning, middle, and an end. When that format is changed into that of a hypertext, even someone who falls at the highest levels of reading and writing, will feel lost in what they are reading. Birkerts (an author who’s life revolves around both reading and writing) explains his first encounter with hypertext in his book, The Gutenberg Elegies. He describes the structure as a “map of an elaborate garden” with” maze-like paths benches and nooks,”(Birkerts 151). He felt paralyzed in confusion from this unfamiliar format of a hypertext. Patchwork Girl is structured in a way that most readers are not used to-there is neither a beginning nor an end. It is structured similarly to a web site database, where the sections are not based on sequence but on relativity.

The structure of hypertext fails to grab the reader’s attention. The fact that there is no specific order in which the reader has to read makes it impossible for there to be a climax. Can it even be defined as a story if there is no climax? This poses a fairly large problem,  for how can the reader stay interested in the story if there is no real emotional build up? Without an emotional build up it seems difficult for the reader to be pulled into the story. Birkerts shares the same idea, stating that he felt “none of the tug,”(Birkerts 151) he had felt with books The satisfaction gained from the final chapter of a novel bringing an entire story together, is something that cannot be mimicked. Knowing that satisfaction is near gives the reader an empowering rush to finish the novel. Each event in a story paves the road to the final destination of that satisfaction. If the reader cannot feel an emotional build up, then what is stopping them from putting the novel down and moving on to a story that hooks their attention?  Jackson’s Patchwork Girl lacks the thrust that pushes the reader into the story and keeps them from putting it down.

An important question to think about is; Will hypertext become the “book” of our age? The answer to the question is no. Although hypertext appears to be the more efficient way for an author to get their point across, it lacks the ability to pull the reader into the story. It is similar to reading the end of a mystery story before reading the previous plot. If you know what happens in the end, all else seems pointless to read. The book has lasted through thousands of years and continues to be the most popular medium. To Jackson’s credit Patchwork Girl has qualities that no other novel shares, but it lacks the key qualities that make a novel, a novel. For that reason Patchwork Girl fails as a novel.

Birkerts, Sven. The Gutenberg Elegies The Fate of Reading in an Electronic Age. London: Faber & Faber, 2006. Print.

Birkerts surprisingly does not  go into the differences in format between a book and a hypertext, but instead he digs deep, looks past the surface of the two, taking a very close and specific look on how the two differ. He talks about how the text that appears  on a screen of a hypertext is very different from the text imprinted on the pages a book. He brings up an interesting  point saying that the same word is completely different if read on a screen than if read from a page of a book. He makes it clear that one is not better than the other, they are just simply different. It is interesting in how on the surface things can seem very similar, but if we dig deep and look very close at two things we can find huge differences that can open our eye to a new world of perceiving things.

Patchwork Girl is very different from the text most people are accustom to, and at first can leave the reader in utter confusion. With that said though, if we look deep into the structure of a hypertext it is clear that hypertext in fact helps the reader piece the ideas of the author in a much more efficient way than that of a book. This structure allows the reader to jump from section to section in any order they please, for its sections are not organized by sequence but by relativity. This supplies the reader with a better understanding of the authors ideas because each point is made clear in one specific section which is supported  by smaller subsections. In addition, these section for the most part are small, and the process of clicking each section one by one acts a digital speed bump, slowing the reader down for a closer reading of the text.

An important question to think about is will hypertext become the “book” of our age? The answer to the question is unknown for now, but it seems it could go either way. Hypertext appears to be the more efficient way  for an author to get their point across.  The problem with hypertext is that it lacks the ability to form a climax.  The fact that there is no specific order in which the reader has to read makes it impossible for there to be a climax. This poses a fairly large problem, how can the reader stay interested in the story if there is no real emotional build up? Can it even be defined as a story if there is no climax?  And do we define the structure of a story as beginning, middle, and end?

In Shelly’s novel Frankenstein, death seems irrelevant before Victor creates his monster. In chapter five Victor briefly mentions his mother’s death.  Shelly makes it clear that there is more important material to focus on other than Caroline’s death. However, Branagh’s film makes it clear that Caroline’s death plays an important role in Victor’s motive to create life. Branagh not only changes Caroline’s death to a more violent and gory one but also includes an entire scene for it.  The scene begins with the Frankenstein family dancing in the ball room, when suddenly Caroline faints to the floor.  The scene then shifts to Caroline covered in blood moaning, “Just save the baby!”  Victor hears the cries of his blood-soaked father and races past him to find Caroline’s dead body. The scene ends with Victor sobbing over his mother’s bloody body repeating, “bring her back!” Victor is introduced to the pain and suffering caused by death for the first time, and therefore begins to fear it. The film flashes forward three years later with Victor standing over his mother’s grave. Victor whispers in despair, “Oh mother you should of never died. No one need ever die. I will stop this, I will stop this, I promise.” Victor feels that no one should ever go through the pain of losing someone close, and promises to put and end to death. It is obvious that Victor fears death, and it is safe to say that those who have suffered the pain of losing someone close would do anything possible to prevent it from happing again.

Branagh reinforces his theme by creating a death as well as adding important dialogue in the Professor’s death scene . The scene opens with Victor, Henry Clerval, and Professor Waldmen at the dinner table. Victor explains to the two, ” The best way to cheat death is to create life.” Victor voices to the audience that it is possible to prevent death, and that the best way possible is by creating life. Branagh creates the death of Professor Waldmen, who never died at any point during the novel. In this scene Professor Waldmen is stabbed in the chest by a homeless man. The scene then jumps to Victor covered in blood violently pounding his professor’s chest trying bring him back to life.  Victor finds himself once again in the presence of death, helpless in saving his professor. Soon after Waldmen’s death, Victor takes action and begins his experiment to create life.  Waldmen’s death was the final . In other words, Waldmen’s death was, “the straw that broke the camel’s back.”

Branagh uses the medium of film to direct the viewer’s attention to why victor fears death.  Unlike  a novel, a film provides the audience with a visual perspective of the story. This visual perspective allows the audience to experience  the story as if it was taking place right in front of their eyes.  Branagh takes full advantage of this aspect, and applies it to its fullest in both Caroline’s and Professor Waldman’s deaths. In Caroline’s death scene the viewer is transported right into the Frankenstein mansion, becoming an eyewitness to  Caroline’s agonizing death. Branagh uses the camera angle to create the illusion that the viewer is standing right behind Dr. Frankenstein watching helplessly, as Caroline breathes her very last breath. This same illusion reoccurs once again in Professor Waldmen’s death scene. As Professor Waldmen lies dying on the table, the camera is at level with Victor and Henry.  The view violently shifts back and forth from Victor’s face to Henry’s face, again giving the viewers the sense that they are directly across from the students while they franticly try to bring their professor back to life. Due to this visual perspective, the viewers are able to relate to Victor; for Victor is powerless to save his professor from death so are the viewers. The visual perspective generated in Branagh’s film is a unique characteristic that cannot be matched from a written novel, or any form of written text in that matter.

Branagh film Mary Shelly’s Frankenstein is a remediation of Shelly’s Novel. He take Shelly’s story and puts his own little twist on it by adding graphic scenes and dialog that can’t be found in the novel.  These scenes reshape Victor into the most tragic of the tragic heros.  Further more,  defining Victor as the man who paid a far worse price than death  for his attempt to save all humankind from death. Any author could rewrite the novel changing Victor more into a tragic hero, but it would lack the dramatic affect that Branagh’s film creates. The affect brought out by watching poor Victor suffer through out the film is on a completely different level, than that of just reading it.

II. Caroline’s Death :

A.) In the movie Caroline dies during child birth not from scarlet fever like in the novel. Caroline’s death portrayed in the movie is suspenseful and very graphic. In the novel it is very quick and can go almost with out notice.

1.) This scene makes Caroline’s death seem much more personal for Victor than in the novel. The viewers can imply that this scene plays an important role in why victor’s seeks to create life.

2.) Victor seeks to create life to end death, as he sobs over Caroline’s dead body repeating “Bring her Back!”

B.) Following Caroline’s death the movie skips past three years to Victor placing flowers over his mothers grave .

1.) Victor whispers to his mothers grave  ” Oh mother you should of never of died. No one need ever die. I will stop this.” This indicates that Victor’s motive to create life to prevent death for all humanity.

II. Victor at School:

A.)  Both in the novel and movie Victor plans to apply what he learns at school to create life, but it is his reason for doing so are very different.

1.) In one scene Professor grabs him and tells him to explain to him what he is doing here, Victor replies ” To attempt to protect and create life”

2.) At dinner with Professor Waldmen and Henry, victor explains to them ” The best way to cheat death is to create life”

B.) The Death of Professor Waldmen:

1.) Professor Waldmen death provokes Victor to devout all his time on creating life.

Branagh

In addition to the creation of events  Branagh add conversation and dialogue to  further develop  his theme that Victor …..

Mary Shelley wastes no time in exploiting the parallels that reveal Frankenstein’s true identity as a “Modern Prometheus.” Prometheus was the son of Titans Lapelus and Themis, two of the original twelve Greek Titans.  The Greek Titans were a race of powerful deities who had a vast range of knowledge.  In the first chapter, Frankenstein describes the roots of his family, and to no surprise, they are much like those of Prometheus.  Frankenstein came from one of the most distinguished families in Geneva.  He had descended from a long line of counselors and syndics, and was the son of a well respected business man.  Frankenstein was born into and surrounded by power, wealth, and knowledge.  This environment, if not the same as, is not far different from one of a Greek Titan.

One parallel leads to another portraying a set of clues that leads the reader closer and closer to the true identity of Frankenstein.  Frankenstein and Prometheus’s familial resemblances are soon followed by their shared passion for knowledge. Prometheus was known for his surplus of acquired knowledge. He helped free the Goddess Athena from Zeus. To show her gratitude she taught him astronomy, mathematics, architecture, navigation, metalworking, writing, and other useful skills. In chapter two we learn of Frankenstein’s mature desire to seek knowledge. He explains, “I was capable of a more intense application, and was more deeply smitten with the thirst of knowledge” (Shelley 44). Frankenstein enslaved himself to his schoolwork at the University of Ingolstadt, gaining a reputation of an intellectual among professors and peers. “As I applied so closely, it may be so easily conceived that my progress was rapid. My ardour was indeed the astonishment of the students, and my proficiency that of masters” (55).  The image he presents of an intellectual noble mirrors that of Prometheus.

Prometheus and Frankenstein both bared the ability to create life.  Frankenstein’s applications of interest were not the usual forms of education. He confesses, “that neither the structure of languages, nor the code of governments nor the policies of various states, possessed attractions for me. It was the secrets of heaven and earth that I desired to learn.” (45).  At age thirteen, he studied the books of famous philosophers, including Paracelsus, a Swiss physician who believed human beings could be produced alchemically.  Frankenstein desired to play the role of God, desiring to use his knowledge to unlock the mystery of life and death. Frankenstein dedicated his two years at Ingolstadt in uncovering this mystery. He had failed many times before but on one dreary night in November Frankenstein his failure became irrelevant for he had achieved the impossible.  He acts godlike, creating life with one spark of electricity.  Similarly to Prometheus, Frankenstein acts as a creator of life in Shelley’s novel.  Prometheus “modeled man with great care in the shape of gods.” (D’Aulaires 71).  It is in this quotation, taken from Greek mythology, that the reader is able to see a strong link between Frankenstein’s actions and those of Prometheus.  Much in the way that Prometheus “modeled man with great care”, Frankenstein’s creature was also crafted by his creator with great knowledge and care, “I had worked hard for two years, for the sole purpose of fusing life into an intimate body.” (Shelley 60). The connection between Prometheus and Frankenstein is clearly shown through their ability to create life and the care put forth in doing so.

The final and strongest parallel between Frankenstein and Prometheus lies within the aftermath of their creations. Both Frankenstein and Prometheus suffered to great degrees, as did those around them.  Moments after Frankenstein birthed his “Monster” he deeply regretted in doing so. He states moments after ” but now I had finished, the beauty of the dream vanished, and the breathless horror filled my heart.” (Shelley 61).  Angered by the rejection of his creator and those of the human race, Frankenstein’s monster seeks ultimate revenge on his creator. The Creature begins his revenge by killing Frankenstein’s younger brother, and framing Justine, the family housekeeper, for his murder. He then kills Henry Clerval, Frankenstein’s best friend. He finally ends his rampage strangling Elizabeth, Frankenstein’s wife, on their wedding night. The monster successfully killed every person who Frankenstein was close too. And if the pain of losing all who he loved was not enough as it is, Frankenstein had to live with the unbearable guilt of being the sole source of all their deaths. Prometheus is equally punished by Zeus for stealing fire to humankind. Bound to unbreakable irons, Prometheus was “chained to the top of Caucasus Mountains. Every day an eagle swooped out of the sky and ate his liver. At night his immortal liver grew anew, but every day the eagle returned and he had to suffer again.”(D’Aulaires 72). But Zeus did not stop at that. He plagued earth with “Greed, Vanity, Slander, Envy, and all that until then had been unknown to mankind.”  Frankenstein and Prometheus both brought forth eternal pain and suffering upon themselves and those associated with them.

Frankenstein and Prometheus’s intentions were for good. Unfortunately they let their pursuit knowledge get the better of them. They attempted to play the role of god, and in failing to do so they paid a hefty price. Mary Shelly’s Frankenstein shows us the dangers involved in playing god as well as tampering with the nature life and death.

D’Aulaires, Ingri and Edgar. Book of Greek Myths. New York City: Delacorte Press, 1962.

Shelley, Mary . Frankenstein or The Modern Prometheus. New York City: Bedford/St. Martin’s, 2000.

We talked in class of the several meanings behind Mary Shelly’s novel ” Frankenstein or Modern Prometheus”. Although many of these arguments may hold true, I believe that the main meaning behind the novel lies directly in the title. (possible thesis)

Main Ideas:

A.) Before we even begin to read the Book Mary Shelly is already telling us what she means by her novel. The reader can start looking for similarities between the two right as they begin the book.

Example : Calls Frankenstein a Modern Prometheus in the title. “Frankenstein or Modern Prometheus”

B.) The similarities between Victor and Prometheus.

1.) Both Victor and Prometheus tied to Help humankind.

Example: Prometheus created mankind, and  and went behind the Zeus and give the humans fire back after Zeus took if from them. Victor to created life, so no individual would ever have to lose a loved one again.

2.) Both suffered greatly in their failure to help humankind.

Example: Prometheus was caught by Zeus and for his punishment was tied down to a rock and an eagle ate out his liver everyday for thousands of year. Victor created “Monster” a hideous monster, who killed everyone who victor loved and was close to.

3.) Both Victor and Prometheus used their vast rang of knowledge to hep humankind

Example: Prometheus obtained a surplus of knowledge from the Greek Goddess Athena. He passed his knowledge to the humans to help them survive. Victor used his vast knowledge of the sciences to unlock the mystery of creating life.

What I Need to Add:

I need to find quotes from the novel and from the greek myth that support the main ideas of my paper.