For the Romantic era, Prometheus was the rebel who resisted all forms of institutional tyranny epitomised by Zeus – church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton's "Paradise Lost", and the divinely inspired poet or artist. Prometheus is the lyrical "I" who speaks in Goethe's "Sturm und Drang" poem "Prometheus" (written c. 1772–74, published 1789), addressing God (as Zeus) in misotheist accusation and defiance. In "Prometheus Unbound" (1820), a four-act lyrical drama, Percy Bysshe Shelley rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus (under the Latin name Jupiter), but instead supplants him in a triumph of the human heart and intellect over tyrannical religion. Lord Byron's poem "Prometheus" also portrays the Titan as unrepentant. As documented by Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well. Mary Shelley's 1818 novel "Frankenstein" is subtitled "The Modern Prometheus", in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge.