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The novel’s title refers to him, although it is often mistakenly applied to his creation."},{"text":"Henry Clerval, the creator.","correct":false,"explanation":"Henry Clerval is Victor’s loyal childhood friend, not the scientist named in the title. Frankenstein is Victor Frankenstein, who creates the living being."},{"text":"Robert Walton, the creator.","correct":false,"explanation":"Robert Walton is the Arctic explorer whose letters frame the narrative, not Frankenstein. Frankenstein is Victor, the scientist who recounts his disastrous experiment."},{"text":"The Creature, the creator.","correct":false,"explanation":"The common misconception is to call the creation Frankenstein. Frankenstein is actually Victor Frankenstein, while the unnamed being is usually called the Creature."}]},{"id":"d665915c-ce27-4f13-8663-4678a1baaa5a","cardType":"basic","points":1,"front":"What should Victor’s creation be called?","back":"The Creature, not Frankenstein.","mcqOptions":[{"text":"The Creature, not Frankenstein.","correct":true,"explanation":"Shelley never gives Victor’s creation a personal name, so the Creature is the clearest accurate designation. Frankenstein is the surname of his creator, Victor."},{"text":"Victor, not Frankenstein.","correct":false,"explanation":"Victor is the first name of the scientist who creates the being, not a name for the creation. The unnamed creation should be called the Creature."},{"text":"Henry Clerval, not Frankenstein.","correct":false,"explanation":"Henry Clerval is Victor Frankenstein’s close friend and a separate character. Victor’s unnamed creation should be referred to as the Creature."},{"text":"Robert Walton, not Frankenstein.","correct":false,"explanation":"Robert Walton is the explorer who encounters Victor in the Arctic, not Victor’s creation. The unnamed being should be called the Creature."}]},{"id":"66a05796-cb1c-4802-9776-eb4fd5044906","cardType":"basic","points":1,"front":"What is the full title of Shelley’s novel?","back":"Frankenstein; or, The Modern Prometheus.","mcqOptions":[{"text":"Frankenstein; or, The Modern Prometheus.","correct":true,"explanation":"The full title links Victor’s pursuit of forbidden creative power to Prometheus, the mythological figure associated with giving fire to humanity and defying divine authority."},{"text":"Frankenstein; or, The Ancient Mariner.","correct":false,"explanation":"The Ancient Mariner influenced the novel’s imagery and is mentioned by Walton, but it is not part of Shelley’s title. The subtitle is The Modern Prometheus."},{"text":"Frankenstein; or, The New Prometheus.","correct":false,"explanation":"The subtitle uses “Modern,” not “New,” to present Victor as a contemporary equivalent of Prometheus. The full title is Frankenstein; or, The Modern Prometheus."},{"text":"The Creature; or, The Modern Prometheus.","correct":false,"explanation":"The novel is titled after Victor Frankenstein rather than his unnamed creation. Its full title is Frankenstein; or, The Modern Prometheus."}]},{"id":"eb34b48a-6f96-416b-9609-5fe6b5319df7","cardType":"basic","points":1,"front":"Which form frames the whole novel through letters?","back":"Epistolary form.","mcqOptions":[{"text":"Epistolary form.","correct":true,"explanation":"An epistolary narrative is constructed through letters. Walton’s correspondence with his sister forms the outer frame surrounding Victor’s and the Creature’s accounts."},{"text":"Dramatic form.","correct":false,"explanation":"A dramatic form is written principally for stage performance through dialogue and directions. Shelley instead frames the novel with Walton’s letters, making its outer form epistolary."},{"text":"Allegorical form.","correct":false,"explanation":"An allegorical work consistently represents a second level of meaning, but that does not name the letter-based framing device. Walton’s correspondence creates an epistolary form."},{"text":"Omniscient form.","correct":false,"explanation":"An omniscient narrator knows every character’s thoughts, whereas Shelley presents limited first-person accounts. Because Walton’s letters frame the narrative, the relevant form is epistolary."}]},{"id":"bbc9b070-cbc9-4322-b6d0-16db9ebd7803","cardType":"basic","points":1,"front":"Whose letters form the novel’s outer frame?","back":"Robert Walton’s letters to Margaret Saville.","mcqOptions":[{"text":"Robert Walton’s letters to Margaret Saville.","correct":true,"explanation":"Walton writes to his sister, Margaret Saville, describing his expedition and recording Victor’s story. These letters open and close the novel, forming its outer frame."},{"text":"Victor Frankenstein’s letters to Elizabeth Lavenza.","correct":false,"explanation":"Victor communicates with Elizabeth, but their correspondence does not provide the novel’s outer frame. That frame consists of Robert Walton’s letters to Margaret Saville."},{"text":"Henry Clerval’s letters to Alphonse Frankenstein.","correct":false,"explanation":"Henry Clerval and Alphonse Frankenstein are important within Victor’s narrative, but their letters do not frame the novel. Walton’s letters to Margaret Saville do."},{"text":"Margaret Saville’s letters to Robert Walton.","correct":false,"explanation":"This reverses the direction of the correspondence: Margaret Saville is Walton’s recipient, not the outer narrator. Robert Walton writes the framing letters to her."}]},{"id":"e7115412-1357-4f16-9a48-4f94b0714065","cardType":"basic","points":1,"front":"Where is Walton when he rescues Victor?","back":"Trapped in Arctic ice.","mcqOptions":[{"text":"Trapped in Arctic ice.","correct":true,"explanation":"Walton’s ship has become trapped in Arctic ice during his polar expedition when his crew rescues the exhausted Victor from the frozen landscape."},{"text":"Crossing the Swiss Alps.","correct":false,"explanation":"The Swiss Alps feature prominently in Victor’s travels, but Walton never rescues him there. The rescue occurs after Walton’s ship becomes trapped in Arctic ice."},{"text":"Crossing the Atlantic Ocean.","correct":false,"explanation":"Walton’s voyage is a polar expedition rather than an Atlantic crossing. He rescues Victor in the Arctic while his ship is trapped in ice."},{"text":"Exploring the Orkney Islands.","correct":false,"explanation":"Victor visits the Orkney Islands while attempting to make a companion for the Creature, but Walton rescues him much later in the Arctic ice."}]},{"id":"db857bb6-a4fa-43dd-aa31-913c68b3c1ff","cardType":"cloze","points":null,"front":"In the “Russian doll” structure, the narrative moves inward from [ ] to [ ].","back":"In the “Russian doll” structure, the narrative moves inward from Walton to Victor Frankenstein.","mcqOptions":[{"text":"In the “Russian doll” structure, the narrative moves inward from Walton to Victor Frankenstein.","correct":true,"explanation":"Walton’s letters create the outer narrative layer, within which Victor tells his life story. The Creature’s account is then embedded inside Victor’s narrative."},{"text":"In the “Russian doll” structure, the narrative moves inward from Margaret Saville to Victor Frankenstein.","correct":false,"explanation":"Margaret Saville receives Walton’s letters but does not narrate the outer frame herself. The narrative moves inward from Walton’s account to Victor Frankenstein’s account."},{"text":"In the “Russian doll” structure, the narrative moves inward from Walton to Margaret Saville.","correct":false,"explanation":"Margaret Saville is Walton’s addressee, not an inner narrator. The framed narrative moves from Walton on the outside to Victor Frankenstein within his account."},{"text":"In the “Russian doll” structure, the narrative moves inward from Victor Frankenstein to Walton.","correct":false,"explanation":"This reverses the nesting order: Victor’s story is contained within Walton’s letters. The narrative therefore moves inward from Walton to Victor Frankenstein."}]},{"id":"d735c1f2-5a0e-4146-92da-c4bcac239cb9","cardType":"cloze","points":null,"front":"At the centre of Frankenstein is [ ] account of survival and suffering.","back":"At the centre of Frankenstein is the Creature’s account of survival and suffering.","mcqOptions":[{"text":"the Creature’s","correct":true,"explanation":"The Creature’s first-person account lies at the centre of the nested narrative. He describes learning to survive, observing the De Laceys and suffering repeated rejection."},{"text":"Victor’s","correct":false,"explanation":"Victor’s account surrounds the novel’s central embedded narrative rather than occupying its deepest level. At the centre, the Creature recounts his survival and suffering."},{"text":"Walton’s","correct":false,"explanation":"Walton supplies the outermost frame through his letters, not the central account. The Creature’s narrative of isolation, education and rejection occupies the centre."},{"text":"Elizabeth’s","correct":false,"explanation":"Elizabeth is mainly represented through Victor’s narration and her letters, and she never gives this central account. The Creature narrates his own survival and suffering."}]},{"id":"a2cc6767-60e2-4e57-bfc9-d71e15d12881","cardType":"basic","points":1,"front":"What does the frame narrative make readers question?","back":"The reliability of each narrator.","mcqOptions":[{"text":"The reliability of each narrator.","correct":true,"explanation":"The nested accounts pass through several speakers, each with personal motives and limited knowledge. Readers must therefore question whether Walton, Victor, and the Creature present events truthfully."},{"text":"The morality of each narrator.","correct":false,"explanation":"Although readers may judge the narrators’ morality, the frame structure specifically creates uncertainty about their reliability. Each account is mediated through another character and may be biased."},{"text":"The identity of each narrator.","correct":false,"explanation":"The speakers’ identities are made clear rather than concealed. The frame narrative instead makes readers question their reliability because the story passes through several subjective perspectives."},{"text":"The intelligence of each narrator.","correct":false,"explanation":"The narrative does not primarily cast doubt on the speakers’ intelligence. Its layered structure raises questions about reliability, as every narrator may distort events through bias or limited knowledge."}]},{"id":"5f9dcbec-769d-445a-9e50-2061d732ccb3","cardType":"basic","points":2,"front":"Why is the Creature’s story not fully reliable to the reader?","back":"It is filtered through Victor.","mcqOptions":[{"text":"It is filtered through Victor.","correct":true,"explanation":"The Creature’s account appears inside Victor’s narration, which Walton records. Victor may select, reshape, or misrepresent the Creature’s words because of his intense hostility towards him."},{"text":"It is presented as a dream.","correct":false,"explanation":"The Creature delivers his story as a direct account, not as a dream. Its reliability remains uncertain because readers receive it filtered through Victor’s hostile narration."},{"text":"It is based on village rumours.","correct":false,"explanation":"The Creature describes events he claims to have experienced and observed himself, rather than repeating rumours. Doubt arises because his account is filtered through Victor before reaching Walton and the reader."},{"text":"It is interrupted by Elizabeth.","correct":false,"explanation":"Elizabeth is not present during the Creature’s narration and does not interrupt it. The account is not fully reliable because Victor, who despises the Creature, transmits it."}]},{"id":"28ce6893-d8bb-48ae-91cd-23956c807022","cardType":"basic","points":1,"front":"How does Walton initially present Victor?","back":"As a noble, tragic genius.","mcqOptions":[{"text":"As a noble, tragic genius.","correct":true,"explanation":"Walton initially admires Victor’s intelligence, sensitivity, and apparent greatness while viewing his suffering as tragic. This presentation encourages sympathy before Victor’s responsibility becomes fully apparent."},{"text":"As a dangerous, remorseless criminal.","correct":false,"explanation":"Walton does not initially condemn Victor as remorseless or criminal. He idealises him as a noble, tragic genius, influenced by Victor’s intelligence, suffering, and cultivated manner."},{"text":"As a weak, comic coward.","correct":false,"explanation":"Victor’s condition is physically weak, but Walton does not treat him as comic or cowardly. He initially presents Victor admiringly as a noble, tragic genius."},{"text":"As a cold, ordinary scientist.","correct":false,"explanation":"Walton sees Victor as exceptional and emotionally compelling, not ordinary or cold. His early account frames Victor as a noble, tragic genius whose greatness has ended in suffering."}]},{"id":"ab17adb3-c865-4a31-b104-6608766406d1","cardType":"basic","points":2,"front":"How does Victor’s bias shape his description of the Creature?","back":"He calls him a “monster” and “fiend”.","mcqOptions":[{"text":"He calls him a “monster” and “fiend”.","correct":true,"explanation":"Victor repeatedly uses dehumanising labels such as “monster” and “fiend”. These emotionally charged terms reveal his prejudice and encourage readers to distrust his description of the Creature."},{"text":"He calls him an “angel” and “saviour”.","correct":false,"explanation":"These admiring, religious labels are the opposite of Victor’s language. His bias appears through hostile terms such as “monster” and “fiend”, which deny the Creature sympathy and humanity."},{"text":"He calls him a “friend” and “brother”.","correct":false,"explanation":"Victor refuses to recognise companionship or kinship with his creation. Instead, his prejudiced narration repeatedly calls the Creature a “monster” and “fiend”, emphasising hatred and separation."},{"text":"He calls him a “hero” and “genius”.","correct":false,"explanation":"Victor never celebrates the Creature with heroic or intellectual praise. His bias is conveyed through dehumanising labels such as “monster” and “fiend”, which shape the reader’s first impression."}]},{"id":"98e9ba20-9178-4099-9f6d-cf933f9ed00f","cardType":"basic","points":1,"front":"What quality of the Creature’s speech challenges Victor’s labels?","back":"His surprising eloquence.","mcqOptions":[{"text":"His surprising eloquence.","correct":true,"explanation":"The Creature speaks persuasively and with sophisticated vocabulary, revealing intelligence and sensitivity. His eloquence conflicts with Victor’s simplistic portrayal of him as merely savage and monstrous."},{"text":"His surprising incoherence.","correct":false,"explanation":"Incoherent speech would reinforce rather than challenge Victor’s dehumanising labels. The Creature instead displays surprising eloquence, speaking logically and persuasively about his experiences and suffering."},{"text":"His childish simplicity.","correct":false,"explanation":"The Creature’s speech is sophisticated rather than childishly simple. His eloquence demonstrates intelligence and emotional awareness, challenging Victor’s attempt to depict him as an unthinking monster."},{"text":"His broken grammar.","correct":false,"explanation":"The Creature does not speak in broken or ungrammatical language. His surprising eloquence and carefully reasoned arguments undermine Victor’s labels by revealing his education, intelligence, and sensitivity."}]},{"id":"3e54ab83-6072-4e0b-9fa8-c426eaa2d7b3","cardType":"cloze","points":null,"front":"The three main genres intersecting in Frankenstein are Gothic fiction, [ ], and early [ ].","back":"The three main genres intersecting in Frankenstein are Gothic fiction, Romanticism, and early Science Fiction.","mcqOptions":[{"text":"The three main genres intersecting in Frankenstein are Gothic fiction, Romanticism, and early Science Fiction.","correct":true,"explanation":"The novel combines Gothic settings and horror, Romantic interests in nature and emotion, and early Science Fiction concerns about experimentation, discovery, and the consequences of scientific ambition."},{"text":"The three main genres intersecting in Frankenstein are Gothic fiction, the Enlightenment, and early Science Fiction.","correct":false,"explanation":"The Enlightenment is relevant intellectual context, but Romanticism is the central literary movement represented through nature, emotion, and individual experience. Science Fiction supplies the novel’s speculative scientific element."},{"text":"The three main genres intersecting in Frankenstein are Gothic fiction, Romanticism, and early detective fiction.","correct":false,"explanation":"The pursuit of the Creature may resemble an investigation, but the novel is not primarily detective fiction. Its speculative creation of life makes early Science Fiction the correct third genre."},{"text":"The three main genres intersecting in Frankenstein are Gothic fiction, Modernism, and early historical fiction.","correct":false,"explanation":"Modernism developed much later, and the novel does not principally reconstruct a historical period. It combines Gothic fiction with Romanticism and early Science Fiction."}]},{"id":"0acf7ffd-f39d-4f45-9b2c-6746681452c9","cardType":"basic","points":1,"front":"Which genre uses ruined castles, desolate landscapes, and stormy nights?","back":"Gothic fiction.","mcqOptions":[{"text":"Gothic fiction.","correct":true,"explanation":"Gothic fiction typically creates fear and unease through ruined buildings, isolated or desolate settings, darkness, storms, and suggestions of supernatural danger or psychological disturbance."},{"text":"Romantic poetry.","correct":false,"explanation":"Romantic poetry often celebrates nature, imagination, and intense emotion, but ruined castles and stormy nights are especially recognisable conventions of Gothic fiction, which uses them to create fear."},{"text":"Science Fiction.","correct":false,"explanation":"Science Fiction centres on speculative science or technology rather than requiring ruined castles and stormy landscapes. Those threatening settings are conventional features of Gothic fiction."},{"text":"Domestic realism.","correct":false,"explanation":"Domestic realism generally portrays credible everyday relationships and household life. Ruined castles, desolate landscapes, and stormy nights instead belong to Gothic fiction’s atmosphere of isolation and terror."}]},{"id":"7bd91aa6-52c9-48ed-b94d-0a34db3f1783","cardType":"cloze","points":null,"front":"The “dreary night of November” is a Gothic opening using [ ], where weather mirrors [ ].","back":"The “dreary night of November” is a Gothic opening using pathetic fallacy, where weather mirrors mood.","mcqOptions":[{"text":"The “dreary night of November” is a Gothic opening using pathetic fallacy, where weather mirrors mood.","correct":true,"explanation":"Pathetic fallacy gives weather an emotional significance. The dreary November conditions reflect the scene’s gloomy, ominous mood, establishing Gothic unease before the Creature comes to life."},{"text":"The “dreary night of November” is a Gothic opening using pathetic fallacy, where weather mirrors action.","correct":false,"explanation":"Pathetic fallacy connects natural conditions with emotion or atmosphere, not physical action. Here, the dreary weather mirrors the scene’s dark mood and creates a Gothic sense of foreboding."},{"text":"The “dreary night of November” is a Gothic opening using dramatic irony, where weather mirrors mood.","correct":false,"explanation":"Dramatic irony occurs when an audience knows more than a character, which is not the technique used here. Weather reflecting mood is specifically called pathetic fallacy."},{"text":"The “dreary night of November” is a Gothic opening using onomatopoeia, where weather mirrors dialogue.","correct":false,"explanation":"Onomatopoeia imitates sounds, while dialogue is spoken language, so neither describes this atmospheric detail. The phrase uses pathetic fallacy because the dreary weather mirrors the gloomy mood."}]},{"id":"1c30d0f7-63d3-413c-a3c0-249a82d60a89","cardType":"basic","points":1,"front":"Which Gothic convention involves extreme distress, madness, or passion?","back":"High emotion.","mcqOptions":[{"text":"High emotion.","correct":true,"explanation":"Gothic literature frequently depicts characters overwhelmed by extreme fear, grief, madness, or passion, using high emotion to create psychological intensity and unease."},{"text":"Supernatural events.","correct":false,"explanation":"Supernatural events involve ghosts, monsters, or inexplicable forces, rather than intense psychological distress. Extreme madness, distress, or passion exemplifies the Gothic convention of high emotion."},{"text":"Gothic isolation.","correct":false,"explanation":"Gothic isolation separates characters from society or safety, but it does not itself describe extreme passion or madness. Those heightened feelings belong to the convention of high emotion."},{"text":"Mysterious settings.","correct":false,"explanation":"Mysterious settings create uncertainty through unfamiliar or threatening locations, rather than describing a character’s emotional state. Extreme distress, madness, or passion is high emotion."}]},{"id":"db466896-6bec-4bba-8973-ce396f53b9e3","cardType":"basic","points":1,"front":"Which movement reacted against Enlightenment scientific rationalism?","back":"Romanticism.","mcqOptions":[{"text":"Romanticism.","correct":true,"explanation":"Romanticism challenged the Enlightenment’s emphasis on scientific reason by valuing emotion, imagination, individual experience, spirituality, and the power of the natural world."},{"text":"The Enlightenment.","correct":false,"explanation":"The Enlightenment promoted reason, scientific investigation, and rational progress, so it cannot be the movement that reacted against those values. That reaction was Romanticism."},{"text":"Realism.","correct":false,"explanation":"Realism developed later and focused on ordinary life and society rather than idealisation. Romanticism was the movement that directly opposed Enlightenment rationalism through emotion and imagination."},{"text":"Modernism.","correct":false,"explanation":"Modernism emerged mainly in the late nineteenth and early twentieth centuries, responding to modernity and social disruption. Romanticism reacted against Enlightenment scientific rationalism."}]},{"id":"fa8d8264-387e-4d24-a119-9e42778696b7","cardType":"cloze","points":null,"front":"The Romantic [ ] is awe mixed with terror at nature’s vastness and power.","back":"The Romantic Sublime is awe mixed with terror at nature’s vastness and power.","mcqOptions":[{"text":"Sublime","correct":true,"explanation":"The Sublime describes the combination of wonder and fear produced by nature’s overwhelming scale or power, making people feel both inspired and insignificant."},{"text":"Picturesque","correct":false,"explanation":"The Picturesque refers to visually attractive, irregular scenery suitable for a painting, rather than awe combined with terror. That overwhelming Romantic experience is the Sublime."},{"text":"Pastoral","correct":false,"explanation":"The Pastoral idealises peaceful rural life and simple natural settings, rather than nature’s terrifying vastness and power. Awe mixed with fear defines the Sublime."},{"text":"Gothic","correct":false,"explanation":"Gothic describes a broader mode involving fear, mystery, darkness, and transgression. The specific Romantic concept combining awe with terror at nature is the Sublime."}]},{"id":"18066c29-0198-4231-81fc-ea7dd7393945","cardType":"basic","points":2,"front":"How does Victor violate Romantic values?","back":"He tries to master nature through science.","mcqOptions":[{"text":"He tries to master nature through science.","correct":true,"explanation":"Victor seeks control over life and death through scientific experimentation, violating the Romantic belief that nature should inspire humility rather than be conquered."},{"text":"He tries to appreciate nature through emotion.","correct":false,"explanation":"Appreciating nature emotionally supports Romantic values rather than violating them. Victor’s transgression is his attempt to master nature and its life-giving powers through science."},{"text":"He tries to understand nature through observation.","correct":false,"explanation":"Careful observation alone is not Victor’s central violation. His dangerous ambition goes further: he attempts to master nature through science by creating life."},{"text":"He tries to seek comfort through natural beauty.","correct":false,"explanation":"Seeking comfort in natural beauty reflects a Romantic ideal and Victor repeatedly experiences it. He violates Romantic values by trying to master nature through science."}]},{"id":"8b02751c-4744-433d-ab83-47443da59334","cardType":"basic","points":2,"front":"Why is Frankenstein considered early science fiction?","back":"Victor’s creation uses speculative scientific methods, not magic.","mcqOptions":[{"text":"Victor’s creation uses speculative scientific methods, not magic.","correct":true,"explanation":"The novel imagines scientific experimentation producing artificial life, extending contemporary ideas beyond existing capabilities. This speculation about science makes it an early work of science fiction."},{"text":"Victor’s creation uses ancient supernatural magic, not science.","correct":false,"explanation":"Treating the creation as magic confuses the novel’s Gothic atmosphere with Victor’s actual method. The creature is produced through speculative scientific methods, making the novel early science fiction."},{"text":"Victor’s creation uses divine intervention and prayer, not experimentation.","correct":false,"explanation":"No divine power brings the creature to life; Victor relies on secret experimentation. The use of speculative scientific methods rather than magic supports the science-fiction classification."},{"text":"Victor’s creation uses traditional Gothic curses, not scientific ideas.","correct":false,"explanation":"Gothic curses may appear in supernatural fiction, but they do not create Victor’s creature. Shelley instead imagines speculative scientific methods capable of generating life."}]},{"id":"1b0e36ed-7db3-444f-89ff-20add84960e7","cardType":"cloze","points":null,"front":"[ ] means using electricity to stimulate muscle movement.","back":"Galvanism means using electricity to stimulate muscle movement.","mcqOptions":[{"text":"Galvanism","correct":true,"explanation":"Galvanism is the stimulation of muscles by electricity, named after Luigi Galvani’s experiments. Such experiments helped inspire speculation about electricity and the animation of life."},{"text":"Mesmerism","correct":false,"explanation":"Mesmerism was a supposed hypnotic influence involving invisible forces, not electrical stimulation of muscles. The use of electricity to cause muscular movement is galvanism."},{"text":"Vitalism","correct":false,"explanation":"Vitalism is the belief that living organisms possess a special life force beyond physical processes. Electrical stimulation of muscle movement is specifically called galvanism."},{"text":"Phrenology","correct":false,"explanation":"Phrenology claimed that personality could be determined from the shape of the skull, rather than using electricity on muscles. Electrical muscle stimulation is galvanism."}]},{"id":"9d6d61bd-ea15-4a4c-a325-823f52dd5419","cardType":"basic","points":1,"front":"What danger does Shelley warn against through Victor’s experiments?","back":"Unchecked scientific exploration.","mcqOptions":[{"text":"Unchecked scientific exploration.","correct":true,"explanation":"Victor pursues knowledge without considering ethical limits, consequences, or responsibility for his creation. Shelley therefore warns that unchecked scientific exploration can become destructive."},{"text":"The destructive power of nature.","correct":false,"explanation":"Nature is often restorative or awe-inspiring in the novel, while the catastrophe originates in Victor’s irresponsible choices. His experiments warn against unchecked scientific exploration."},{"text":"Dependence on supernatural magic.","correct":false,"explanation":"Victor does not create life through supernatural magic, despite the novel’s Gothic elements. Shelley’s warning concerns scientific exploration pursued without ethical restraint or responsibility."},{"text":"Rejection of all scientific knowledge.","correct":false,"explanation":"Shelley does not present scientific knowledge itself as inherently dangerous or demand its total rejection. She warns against unchecked scientific exploration without ethical responsibility."}]},{"id":"5a6395f4-2068-47fb-97eb-d2b1bc465708","cardType":"basic","points":2,"front":"Why is Victor called “The Modern Prometheus”?","back":"He steals the secret of life from nature and is destroyed.","mcqOptions":[{"text":"He steals the secret of life from nature and is destroyed.","correct":true,"explanation":"Like Prometheus taking forbidden power, Victor seizes nature’s life-giving secret and suffers devastating consequences. The subtitle connects his overreaching ambition with the mythic figure’s punishment."},{"text":"He steals the gift of fire from the gods and is destroyed.","correct":false,"explanation":"Stealing fire describes the original Prometheus myth, not Victor’s action in the novel. Victor is the modern equivalent because he takes the secret of life from nature."},{"text":"He steals the power to predict fate from nature and is destroyed.","correct":false,"explanation":"Victor never gains prophetic power or attempts to predict fate. His Promethean transgression is discovering and taking the secret of life, followed by destructive punishment."},{"text":"He steals the secret of eternal youth from nature and is destroyed.","correct":false,"explanation":"Victor does not seek eternal youth or prevent ageing. He resembles Prometheus because he takes the secret of creating life from nature and suffers for it."}]},{"id":"4c3d9be1-2c0f-4986-9283-14acc4914d10","cardType":"basic","points":2,"front":"What does the Creature’s lack of a name suggest?","back":"Victor abandoned his parental duty from creation.","mcqOptions":[{"text":"Victor abandoned his parental duty from creation.","correct":true,"explanation":"By refusing to name or care for the Creature, Victor denies the responsibilities of a parent towards his creation and abandons him immediately after bringing him to life."},{"text":"Victor protected his parental bond from creation.","correct":false,"explanation":"Victor does not protect a parental bond; he reacts with horror and deserts the Creature. The lack of a name therefore suggests that Victor abandoned his parental duty from creation."},{"text":"The Creature rejected his human identity from creation.","correct":false,"explanation":"This wrongly makes the Creature responsible for his lack of identity. Victor refuses to name or nurture him, showing that Victor abandoned his parental duty from creation."},{"text":"Society accepted his individual worth from creation.","correct":false,"explanation":"The Creature is repeatedly excluded rather than accepted as a valued individual. His namelessness specifically reflects Victor’s failure to recognise and care for him as his creation."}]}]}],"examCountdown":{"examDate":"2027-05-12","paperLabel":"Paper 1"},"heading":"Overview","title":"Overview Flashcards","topbar":{"backHref":"/gcse/english-literature/aqa/flashcards"},"topicSidebar":"$L37"}]}],"topicId":"ba2d4d7b-c968-562d-bccc-c3c9c19580fd","walled":"$L38"}],"$L39","$L3a"]