Chapter 1: The Intersection of Crisis and the Supernatural

In examining texts like Frankenstein and Wuthering Heights, we find that they often commence with moments of crisis, similar to the pivotal scene in Jane Eyre known as the red room episode. In Wuthering Heights, Cathy’s ghost terrifies Lockwood, yet Heathcliff embraces it, blending desire and fear. This duality also manifests in Jane Eyre, where the young Jane recalls her uncle's kindness while fearing the potential haunting of his ghost, representing a blend of comfort and dread. The potency of these narratives stems from the interplay of opposing emotions. Mary Shelley herself oscillates between terror and exhilaration as her dream inspires her story, a theme echoed throughout Frankenstein, where the joy of creation swiftly turns into despair.

A profound interaction between the fictional and the real is apparent across various texts and forms of discourse, extending beyond mere literature. In her influential work, Darwin’s Plots (1983), Gillian Beer highlights that initial scientific theories often carry a distinctly fictive essence. She notes:

"When it is first advanced, theory is at its most fictive. The awkwardness of fit between the natural world as it is currently perceived and as it is hypothetically imagined holds the theory itself for a time within a provisional scope akin to that of fiction." [1]

Beer suggests that, although science and fiction are generally seen as oppositional, there are instances where scientific concepts can take on a fictive quality. This blending gives rise to what we term “Science Fiction,” a genre recognized for its fictional storytelling, devoid of scientific accuracy.

When we delve into the realm of chemistry, the relationship between fiction and science appears to have transformed significantly over time. A pivotal early text illustrating this shift is Robert Boyle’s The Sceptical Chymist (1661) [2]. This work stands out as it unfolds through a dialogue among five characters discussing what we now identify as chemistry. Its conversational format resembles Plato's dialogues and reflects the era's intertwining of science and philosophy, where inquiries about material science seamlessly intersect with existential and philosophical themes. Thus, while it addresses chemistry, it also qualifies as a literary work.

Exploring philosophical and scientific literature from the 19th century and earlier enriches our understanding and appreciation of these texts, revealing the complexities of a world different from our own. This exploration prompts us to recognize that the categories we often take for granted are not inherently absolute. It is both disconcerting and comforting: disconcerting because these texts reflect an alien yet familiar world, and comforting as their meanings continue to resonate, sometimes even more profoundly than they did in their own time. Ralph Waldo Emerson encapsulates this notion, asserting:

"There is no luck in literary reputation. They who make up the final verdict upon every book are not the partial and noisy readers of the hour when it appears; but a court as of angels, a public not to be bribed, not to be entreated, and not to be overawed, decides upon every man’s title to fame. Only those books come down which deserve to last." [3]

Emerson's observations exemplify this principle, as we continue to engage with his works for their eloquence and aesthetic impact, even as some aspects, particularly their patriarchal undertones, feel dated. The biases of 19th-century writers likely reflect the social norms of their time rather than personal prejudices.

Chapter 2: The Resonance of Historical Texts

Among the intriguing aspects of works like Frankenstein, Wuthering Heights, and Jane Eyre is their ability to resonate deeply with contemporary readers. Certain passages strike a chord so vividly that it feels as though the authors are communicating directly with us. This phenomenon can be described as a kind of chemistry—a term we often use to express a strong personal connection, which aptly applies here as well. Our interaction with literature is a multifaceted reaction that enables authors from centuries past to engage with us on a personal level.

This engagement is not merely personal but universal. Just as a chemistry experiment yields predictable results based on established principles, our reactions to literature are similarly governed by universal human experiences. The texts we cherish resonate not just with us as individuals but with a broader audience. As the saying goes, each person is unique, just like everyone else. The key to understanding how these historical texts can connect with us lies in the fact that, despite the rapid changes in the world, fundamental human nature remains constant.

If we consider the reader’s response to literature as a form of chemical reaction, we can equally view the writer’s creative process in a similar light. In this analogy, the writer acts as a scientist exploring the intricacies of human nature, crafting a mental space for readers to engage with their experiments through text.

The chemical reaction experienced by the reader parallels the writer’s own creative response. This interplay of reactions is what breathes life into the text and evokes strong emotional responses from readers. However, it's crucial to note that the writer's and reader's reactions, while connected, are distinct. The exploration of their similarities and differences presents a fascinating avenue for further investigation.

The first video, titled "CHICAGO - 'POEM FOR THE PEOPLE' (reaction)," provides insights into how poetry can resonate with societal themes and personal experiences, enriching our understanding of emotional literature.

The second video, "Mili - Poems Of A Machine // Reaction & Analysis," delves into the intersection of technology and poetry, exploring how modern themes influence our engagement with literary forms.

Notes

[1] Beer, Gillian, Darwin’s Plots: Evolutionary Narrative in Darwin, George Eliot and Nineteenth-Century Fiction, Routledge & Kegan Paul, London, 1983, p 3

[2] Gribbin, John, Science, A History: 1543–2001, Penguin Books, London, 2002, pp 138–140; Boyle, Robert, The Sceptical Chymist OR Chymico-Physical Doubts & Paradoxes, Touching the Spagyrist’s Principles Commonly call’d Hypostatical, As they are wont to be Propos’d and Defended by the Generality of Alchymists. Whereunto is premis’d Part of another Discourse relating to the same Subject., Printed by F Cadwell for F Crooke, London, 1661.

[3] Emerson, Ralph Waldo, ‘Spiritual Laws’, The Essential Writings of Ralph Waldo Emerson, The Modern Library, New York, 2000, p 183