Frankenstein
Frankenstein; or, The Modern Prometheus is an 1818 novel written by English author Mary Shelley. Frankenstein tells the story of Victor Frankenstein, a young scientist who creates a sapient creature in an unorthodox scientific experiment. Shelley started writing the story when she was 18, and the first edition was published anonymously in London on 1 January 1818, when she was 20. Her name first appeared in the second edition, which was published in Paris in 1821.
This article is about the novel by Mary Shelley. For other uses, see Frankenstein (disambiguation).Author
English
England, Ireland, Italy, France, Scotland, Old Swiss Confederacy, Russian Empire, Holy Roman Empire; late 18th century
1 January 1818
Lackington, Hughes, Harding, Mavor & Jones
280
823.7
PR5397 .F7
Shelley travelled through Europe in 1815, moving along the river Rhine in Germany, and stopping in Gernsheim, 17 kilometres (11 mi) away from Frankenstein Castle, where, two centuries before, an alchemist had engaged in experiments.[2][3][4][note 1]
She then journeyed to the region of Geneva, Switzerland, where much of the story takes place. Galvanism and occult ideas were topics of conversation for her companions, particularly for her lover and future husband Percy Bysshe Shelley.
In 1816, Mary, Percy, John Polidori, and Lord Byron had a competition to see who wrote the best horror story.[5]
After thinking for days, Shelley was inspired to write Frankenstein after imagining a scientist who created life and was horrified by what he had made.[6]
Frankenstein is infused with elements of the Gothic novel and the Romantic movement, and the novel has had a considerable influence on literature and on popular culture, spawning a complete genre of horror stories, films, and plays. Since the publication of the novel, the name "Frankenstein" has often been used, erroneously, to refer to the monster, rather than to his creator/father.[7][8][9]
Summary
Captain Walton introductory narrative
Frankenstein is a frame story written in epistolary form. Set in the 18th century, it documents a fictional correspondence between Captain Robert Walton and his sister, Margaret Walton Saville. Robert Walton is a failed writer who sets out to explore the North Pole in hopes of expanding scientific knowledge. After departing from Archangel, the ship is trapped by pack ice on the journey across the Arctic Ocean. During this time, the crew spots a dog sled driven by a gigantic figure. A few hours later, the ice splits apart, freeing the ship, and the crew rescues a nearly frozen and emaciated man named Victor Frankenstein from a drifting ice floe. Frankenstein has been in pursuit of the gigantic man observed by Walton's crew. Frankenstein starts to recover from his exertion; he sees in Walton the same obsession that has destroyed him and recounts a story of his life's miseries to Walton as a warning. The recounted story serves as the frame for Frankenstein's narrative.
Victor Frankenstein's narrative
Victor begins by telling of his childhood. Born in Naples, Italy, into a wealthy Genevan family, Victor and his younger brothers, Ernest and William, are sons of Alphonse Frankenstein and the former Caroline Beaufort. From a young age, Victor has a strong desire to understand the world. He is obsessed with studying theories of alchemists, though when he is older he realizes that such theories are considerably outdated. When Victor is five years old, his parents adopt Elizabeth Lavenza (the orphaned daughter of an expropriated Italian nobleman) whom Victor plans to marry. Victor's parents later take in another child, Justine Moritz, who becomes William's nanny.
Weeks before he leaves for the University of Ingolstadt in Germany, his mother dies of scarlet fever; Victor buries himself in his experiments to deal with the grief. At the university, he excels at chemistry and other sciences, soon developing a secret technique to impart life to non-living matter. He undertakes the creation of a humanoid, but due to the difficulty in replicating the minute parts of the human body, Victor makes the Creature tall, about 8 feet (2.4 m) in height, and proportionally large. Victor works at gathering the vital organs by pilfering charnel houses, mortuaries and by entrapping and vivisecting feral animals. Despite Victor selecting its features to be beautiful, upon animation the Creature is instead hideous, with dull and watery yellow eyes and yellow skin that barely conceals the muscles and blood vessels underneath. Repulsed by his work, Victor flees. While wandering the streets the next day, he meets his childhood friend, Henry Clerval, and takes Clerval back to his apartment, fearful of Clerval's reaction if he sees the monster. However, when Victor returns to his laboratory, the Creature is gone.
Victor falls ill from the experience and is nursed back to health by Clerval. After recovering he forgets about the Creature and goes into Clerval's study of Oriental languages, which he considers the happiest time of his academic career. This is cut short when Victor receives a letter from his father notifying him of the murder of his brother William. Upon arriving in Geneva, Victor sees the Creature near the crime scene and becomes convinced that his creation is responsible. Justine Moritz, William's nanny, is convicted of the crime after William's locket, which contained a miniature portrait of Caroline, is found in her pocket. Victor knows that no one will believe him if he testifies that it was the doing of the Creature; Justine is hanged. Ravaged by grief and guilt, Victor takes up mountain climbing in the Alps. While hiking through Mont Blanc's Mer de Glace, he is suddenly approached by the Creature, who pleads for Victor to hear his tale.
The Creature's narrative
Intelligent and articulate, the Creature relates his first days of life, living alone in the wilderness. He found that people were afraid of him and hated him due to his appearance, which led him to fear and hide from them. While living in an abandoned structure connected to a cottage, he grew fond of the poor family living there and discreetly collected firewood for them, cleared snow away from their path, and performed other tasks to help them. Secretly living next to the cottage for months, the Creature learned that the son was going to marry a Turkish woman whom he was teaching his native language, which the Creature listened in on the lessons and taught himself to speak and write. The Creature also taught himself to read after discovering a lost satchel of books in the woods. When he saw his reflection in a pool, he realized his appearance was hideous, and it horrified him as much as it horrified normal humans. As he continued to learn of the family's plight, he grew increasingly attached to them, and eventually he approached the family in hopes of becoming their friend, entering the house while only the blind father was present. The two conversed, but on the return of the others, the rest of them were frightened. The blind man's son attacked him and the Creature fled the house. The next day, the family left their home out of fear that he would return. Witnessing this, the monster renounced any hope of being accepted by humanity, and vowed to get his revenge. Although he hated his creator for abandoning him, he decided to travel to Geneva to find him because he believed that Victor was the only person with a responsibility to help him. On the journey, he rescued a child who had fallen into a river, but her father, believing that the Creature intended to harm them, shot him in the shoulder. The Creature then swore revenge against all humans. He travelled to Geneva using details from a combination of Victor's journal and geography lessons gleaned from the family. When in Switzerland he chanced upon William who was at first frightened and the Creature held his wrist to calm him. When the boy screamed his full name and that he had powerful parents, this sparked the creature into killing the boy to spite Victor. The Creature said he took William's locket and placed it into the dress of Justine; who is then executed.
The Creature demands that Victor create a female companion like himself. He argues that as a living being, he has a right to happiness. The Creature promises that he and his mate will vanish into the South American wilderness, never to reappear, if Victor grants his request. Should Victor refuse, the Creature threatens to kill Victor's remaining friends and loved ones and not stop until he completely ruins him. Fearing for his family, Victor reluctantly agrees. The Creature says he will watch over Victor's progress.
Victor Frankenstein's narrative resumes
Clerval accompanies Victor to England, but they separate, at Victor's insistence, at Perth, Scotland. Victor suspects that the Creature is following him. Working on the female creature in Orkney, he is plagued by premonitions of disaster. He fears that the female will hate the Creature or become more evil than he is. Even more worrying to him is the idea that creating the second creature might lead to the creation of a race of beings just as strong as the monster who could plague humanity. He tears apart the unfinished female creature after he sees the Creature, who had indeed followed Victor, watching through a window. The Creature immediately bursts through the door to confront Victor and demands he repair his destruction and resume work, but Victor refuses. The Creature leaves, but gives a final threat: "I will be with you on your wedding night." Victor interprets this as a threat upon his life, believing that the Creature will kill him after he finally becomes happy. Victor sails out to sea to dispose of his instruments, falls asleep in the boat, is unable to return to shore because of changes in the winds, falls unconscious, and ends up being blown to a coastal town in Ireland. When Victor awakens, he is arrested for murder. Despite the severity of the charges, he is met with some sympathy from the magistrate in charge of the trial, which suggests the case is crumbling. Victor is acquitted when people from Scotland testify they saw him in the Orkneys on the night of the murder. However, when shown the murder victim, Victor is horrified to see it was Henry Clerval, whom the Creature strangled as part of his promise to kill all his friends and family. Victor suffers another mental breakdown and after recovering, he returns home with his father, who has restored to Elizabeth some of her father's fortune. His father does not know of the cause behind the murders of William and Henry, but senses a curse and begs Victor to honor his mother's last wish that Victor marry Elizabeth.
In Geneva, Victor is about to marry Elizabeth and prepares to fight the Creature to the death, arming himself with pistols and a dagger. The night following their wedding, Victor asks Elizabeth to stay in her room while he looks for "the fiend". While Victor searches the house and grounds, the Creature strangles Elizabeth. From the window, Victor sees the Creature, who tauntingly points at Elizabeth's corpse; Victor tries to shoot him, but the Creature escapes. Victor's father, weakened by age and by the death of Elizabeth, dies a few days later. Seeking revenge, Victor pursues the Creature through Europe, then north into Russia, with his adversary staying ahead of him every step of the way. Eventually, the chase leads to the Arctic Ocean and then on towards the North Pole, and Victor reaches a point where he is within a mile of the Creature, but he collapses from exhaustion and hypothermia before he can find his quarry, allowing the Creature to escape. Eventually the ice around Victor's sledge breaks apart, and the resultant ice floe comes within range of Walton's ship.
Captain Walton's conclusion
At the end of Victor's narrative, Captain Walton resumes telling the story. A few days after the Creature vanishes, the ship is trapped by pack ice for a second time, and several crewmen die in the cold before the rest of Walton's crew insists on returning south once it is freed. Upon hearing the crew's demands, Victor is angered and, despite his condition, gives a powerful speech to them. He reminds them of why they chose to join the expedition and that it is hardship and danger, not comfort, that defines a glorious undertaking such as theirs. He urges them to be men, not cowards. However, although the speech makes an impression on the crew, it is not enough to change their minds and when the ship is freed, Walton regretfully decides to return south. Victor, even though he is in a very weak condition, states that he will go on by himself. He is adamant that the Creature must die.
Victor dies shortly thereafter, telling Walton, in his last words, to seek "happiness in tranquility and avoid ambition." Walton discovers the Creature on his ship, mourning over Victor's body. The Creature tells Walton that Victor's death has not brought him peace; rather, his crimes have made him even more miserable than Victor ever was. The Creature vows to burn himself on a funeral pyre so that no one else will ever know of his existence. Walton watches as the Creature drifts away on an ice raft, never to be seen again.
Literary influences
Shelley's work was heavily influenced by that of her parents. Her father was famous for Enquiry Concerning Political Justice and her mother famous for A Vindication of the Rights of Woman. Her father's novels also influenced her writing of Frankenstein. These novels included Things as They Are; or, The Adventures of Caleb Williams, St. Leon, and Fleetwood. All of these books were set in Switzerland, similar to the setting in Frankenstein. Some major themes of social affections and the renewal of life that appear in Shelley's novel stem from these works she had in her possession. Other literary influences that appear in Frankenstein are Pygmalion et Galatée by Mme de Genlis, and Ovid, with the use of individuals identifying the problems with society.[15] Ovid also inspires the use of Prometheus in Shelley's title.[16]
The influence of John Milton's Paradise Lost and Samuel Taylor Coleridge's The Rime of the Ancient Mariner are clearly evident in the novel. In The Frankenstein of the French Revolution, author Julia Douthwaite posits that Shelley probably acquired some ideas for Frankenstein's character from Humphry Davy's book Elements of Chemical Philosophy, in which he had written that "science has ... bestowed upon man powers which may be called creative; which have enabled him to change and modify the beings around him ...". References to the French Revolution run through the novel; a likely source is François-Félix Nogaret's Le Miroir des événemens actuels, ou la Belle au plus offrant (1790), a political parable about scientific progress featuring an inventor named Frankésteïn, who creates a life-sized automaton.[17]
Both Frankenstein and the monster quote passages from Percy Shelley's 1816 poem, "Mutability", and its theme of the role of the subconscious is discussed in prose. Percy Shelley's name never appeared as the author of the poem, although the novel credits other quoted poets by name. Samuel Taylor Coleridge's poem "The Rime of the Ancient Mariner" (1798) is associated with the theme of guilt and William Wordsworth's "Tintern Abbey" (1798) with that of innocence.
Many writers and historians have attempted to associate several then-popular natural philosophers (now called physical scientists) with Shelley's work because of several notable similarities. Two of the most noted natural philosophers among Shelley's contemporaries were Giovanni Aldini, who made many public attempts at human reanimation through bio-electric Galvanism in London,[18] and Johann Konrad Dippel, who was supposed to have developed chemical means to extend the life span of humans. While Shelley was aware of both of these men and their activities, she makes no mention of or reference to them or their experiments in any of her published or released notes.
Ideas about life and death discussed by Percy and Byron were of great interest to scientists of that time. They discussed ideas from Erasmus Darwin and the experiments of Luigi Galvani as well as James Lind.[19] Mary joined these conversations and the ideas of Darwin, Galvani and perhaps Lind were present in her novel.
Shelley's personal experiences also influenced the themes within Frankenstein. The themes of loss, guilt, and the consequences of defying nature present in the novel all developed from Mary Shelley's own life. The loss of her mother, the relationship with her father, and the death of her first child are thought to have inspired the monster and his separation from parental guidance. In a 1965 issue of The Journal of Religion and Health a psychologist proposed that the theme of guilt stemmed from her not feeling good enough for Percy because of the loss of their child.[14]
Reception
Frankenstein has been both well received and disregarded since its anonymous publication in 1818. Critical reviews of that time demonstrate these two views, along with confused speculation as to the identity of the author. Walter Scott, writing in Blackwood's Edinburgh Magazine, praises the novel as an "extraordinary tale, in which the author seems to us to disclose uncommon powers of poetic imagination," although he was less convinced about the way in which the monster gains knowledge about the world and language.[68] La Belle Assemblée described the novel as "very bold fiction"[69] and the Edinburgh Magazine and Literary Miscellany hoped to see "more productions ... from this author".[70] On the other hand, John Wilson Croker, writing anonymously in the Quarterly Review, although conceding that "the author has powers, both of conception and language," described the book as "a tissue of horrible and disgusting absurdity."[71]
In two other reviews where the author is known as the daughter of William Godwin, the criticism of the novel makes reference to the feminine nature of Mary Shelley. The British Critic attacks the novel's flaws as the fault of the author: "The writer of it is, we understand, a female; this is an aggravation of that which is the prevailing fault of the novel; but if our authoress can forget the gentleness of her sex, it is no reason why we should; and we shall therefore dismiss the novel without further comment".[72] The Literary Panorama and National Register attacks the novel as a "feeble imitation of Mr. Godwin's novels" produced by the "daughter of a celebrated living novelist."[73] Despite these reviews, Frankenstein achieved an almost immediate popular success. It became widely known, especially through melodramatic theatrical adaptations—Mary Shelley saw a production of Presumption; or The Fate of Frankenstein, a play by Richard Brinsley Peake, in 1823.
Critical reception of Frankenstein has been largely positive since the mid-20th century.[74] Major critics such as M. A. Goldberg and Harold Bloom have praised the "aesthetic and moral" relevance of the novel,[75] although there have also been critics, such as Germaine Greer, who criticized the novel for technical and narrative defects: for example, she claimed that its three narrators all speak in the same way.[76] In more recent years the novel has become a popular subject for psychoanalytic and feminist criticism: Lawrence Lipking states: "[E]ven the Lacanian subgroup of psychoanalytic criticism, for instance, has produced at least half a dozen discrete readings of the novel".[77] Frankenstein has frequently been recommended on Five Books, with literary scholars, psychologists, novelists, and historians citing it as an influential text.[78] Today, the novel is generally considered to be a landmark work as one of the greatest Romantic and Gothic novels, as well as one of the first science fiction novels.[79]
Brian Aldiss has argued for regarding it as the first true science-fiction story. In contrast to previous stories with fantastical elements resembling those of later science fiction, Aldiss states, the central character "makes a deliberate decision" and "turns to modern experiments in the laboratory" to achieve fantastic results.[80]
Film director Guillermo del Toro describes Frankenstein as "the quintessential teenage book", noting that the feelings that "You don't belong. You were brought to this world by people that don't care for you and you are thrown into a world of pain and suffering, and tears and hunger" are an important part of the story. He adds that "it's an amazing book written by a teenage girl. It's mind-blowing."[81] Professor of philosophy Patricia MacCormack says that the Creature addresses the most fundamental human questions: "It's the idea of asking your maker what your purpose is. Why are we here, what can we do?"[81]
On 5 November 2019, BBC News included Frankenstein in its list of the 100 most influential novels.[82] In 2021 it was one of six classic science fiction novels by British authors selected by Royal Mail to be featured on a series of UK postage stamps.[83]
