Zastrozzi's approach, as he stood before Matilda.' He found that the "identical" scene is replicated in Frankenstein: "The identical scene occurs in Frankenstein, with Victor Frankenstein finding himself in the Alps during an electrical storm: 'I watched the storm, so beautiful yet terrific ... This noble war in the sky elevated my spirits; I clasped my hands, and exclaimed aloud, "William, dear angel! this is thy funeral, this is thy dirge!' As I said these words, I perceived in the gloom a figure ... A flash of lightning illuminated the object, and discovered its shape plainly to me, its gigantic stature ... instantly informed me it was the wretch, the filthy demon, to whom I had given life.'" He concluded that both books show Shelley's use of Miltonic themes: "Granted, storm scenes are not unusual in Romantic literature; one need only recall Byron's Childe Harold. But the Miltonic image of a titanic Satan silhouetted by fires in the pitchy blackness of Hell bears the unmistakable mark of Shelley's influence." Stephen C. Behrendt noted that the plan for getting revenge upon God in Zastrozzi, as referenced in the epigraph, "anticipates the guerilla warfare that the Creature will wage on Victor Frankenstein": "Speaking to the assembly of fallen angels in Hell, Beelzebub is proposing a means of achieving revenge against God. His plan calls for attacking God by sabotaging the creatures most dear to him, Adam and Eve, so that an angry and regretful God will condemn them to destruction, a scheme that anticipates the guerilla warfare that the Creature will wage on Victor Frankenstein in Mary Shelley's Frankenstein." Jonathan Glance compared the dream in Frankenstein with that in Zastrozzi: "The final and closest analogue to Victor Frankenstein's dream occurs in Percy Shelley's Zastrozzi (1810)." Matilda's reaction is described: "At one point she imagined that Verezzi, consenting to their union, presented her his hand: that at her touch the flesh crumbled from it, and, a shrieking spectre, he fled from her view". Shelley's later prose fiction In 1811, Shelley wrote a follow-up novella to Zastrozzi called St. Irvyne; or, The Rosicrucian, A Romance, about an alchemist who sought to impart the secret of immortality, published by John Joseph Stockdale, at 41 Pall Mall, in London, which relied more on the supernatural than did Zastrozzi, which was imbued with Romantic realism. The principal fictional prose writings of Shelley are Zastrozzi, St. Irvyne, The