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Although this structural intertextuality is certainly important, possibly more meaningful
are the thematic parallels between both stories, as these shows the true heart of both texts
(Cairney 38). The first such similarity is where Conrad’s paratextuality begins to show: in the
titles. The full title of Shelley’s major work is Frankenstein: The Modern Prometheus, which
refers to Dr. Frankenstein, his monster, or both, depending on the specific reading of the text
(Cairney 42). Having no need for a subtitle, Conrad simply called his piece Heart of Darkness,
which refers to Kurtz, who thematically embodies both Frankenstein and his monster. In an
unusual parallel, both of these titles refer to both the villain of the text—the creature the speaker
allows to run rampant—and the speaker himself, who, depending on the interpretation of each
novel, is the true villain in the end. Thus, before Conrad’s book even starts, he is imitating and
manipulating Mary Shelley’s classic to fit a new age.

After the first words, Conrad continues obvious intertextuality by mimicking Shelley’s
conflict; in both novels, both speakers are at least partially responsible for the things they claim
to hate. This is most obvious in Frankenstein, as the doctor is completely responsible for the
monster’s existence and at least some of his crimes. Not only does the doctor create the monster,
but he has multiple chances to stop his creation. However, Frankenstein chooses not to dismantle
“the miserable monster” before he becomes dangerous, or create a female to keep him company,
or keep his wits and stay with Elizabeth on their wedding night (56, 204, and 241). Rather, he
prefers to wallow in his own misery while his creation overturns half of Europe. Cairney notes
that this issue is less obvious, but still present, in Heart of Darkness: though Marlow is not
personally responsible for the atrocities Europeans inflict upon African natives, he is
symbolically, as he himself points out, sardonically stating “I was also a part of the great cause
of these high and just proceedings” (Cairney 37, Conrad 84). The entire book is based on the