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If we think of the creature as a badly made and unattractive human, his tragedy deepens. His first, catastrophic rejection is by his creator (man, God),which Christopher Frayling calls “that post-partum moment”, and is often identified as

a parental abandonment. If you consider that Mary Shelley had lost her mother Mary Wollstonecraft at her own birth, had just buried her baby girl and was looking after her pregnant step-sister as she was writing the book – which took exactly nine months to complete – the relevance of birth (and death) makes even more sense. The baby/creature is alienated further as society recoils from him; he is made good, but it is the rejection that creates his murderous revenge. As an allegory of our responsibility to children, outsiders, or those who don’t conform to conventional ideals of beauty, there isn’t a stronger one.

Mary lost her mother Mary Wollstonecraft (pictured) at her birth, had buried her baby and was looking after her pregnant step-sister as she was writing the book (Credit: Alamy)

“The way that we sometimes identify with Frankenstein, as we’ve all taken risks, we’ve all had hubristic moments, and partly with the creature; they are both aspects of ourselves – all our selves” Fiona Sampson tells BBC Culture, “they both speak to us about being human. And that’s incredibly powerful.”

Some modern interpretations, such as Nick Dear’s 2011 play (directed by Danny Boyle for

the National Theatre), have highlighted the question of who is the monster and who is the victim, with the lead actors Jonny Lee Miller and Benedict Cumberbatch alternating roles each night. And in this shapeshifting context, it’s fitting that the creature is widely mistaken as ‘Frankenstein’, rather than his creator.

In Nick Dear’s 2011 play Benedict Cumberbatch and Jonny Lee Miller swapped between the roles of the creature and the doctor (Credit: Alamy)

So could a new, cinematic version of

Frankenstein be on the cards? One which brings together the creature’s humanity, the mirroring

of man and monster and contemporary anxieties? Just like the Romantics, we edge towards a new modern age, but this time, of AI, which brings its own raft of fears and moral quandaries. A clutch of recent films and TV shows have channelled Frankenstein, exploring what it means to be human in the context of robotics and AI – Blade Runner, Ex Machina, AI, Her, Humans and Westworld among them. But there is one film director (rumoured to have been developing the story for a while) who might be able to recapture the creature’s lament as a parable for our time.

Guillermo del Toro’s The Shape of Water is also a sci-fi monster fable; he is rumoured to be producing his own version of Frankenstein (Credit: Alamy)

Collecting a Bafta for a different sci-fi monster fable, The Shape of Water, this year, Guillermo del Toro thanked Mary Shelley, because “she picked up the plight of Caliban and she gave weight to the burden of Prometheus, and she gave voice to the voiceless and presence to the invisible, and she showed me that sometimes to talk about monsters, we need to fabricate monsters of our own, and parables do that for us”.

When the then-Mary Godwin thought up her chilling parable that summer of 1816, she couldn’t have imagined how far it would go to shape culture and society, science and fear, well into the 21st Century. “And now, once again, I bid my hideous progeny go forth and prosper,” she wrote in the preface to the 1831 edition. The creator and creature, parent and child, the writer

and her story – they went forth, and did they prosper? Two hundred years since its publication, Mary Shelley’s Frankenstein is no longer just a tale of “thrilling horror” but its own myth, sent out into the world.

BBC Culture’s Stories that shaped the world series looks at epic poems, plays and novels from around the globe that have influenced history and changed mindsets. A poll of writers and critics, 100 Stories that Shaped the World, was published in May.

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