✍️✍️✍️ The Role Of Sublime In Mary Shelleys Frankenstein

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The Role Of Sublime In Mary Shelleys Frankenstein

After convincing Mary Jane The Role Of Sublime In Mary Shelleys Frankenstein, who had pursued them to Calaisthat they did not wish to return, the trio travelled to Paris, and then, by donkey, mule, carriage, and foot, through a France recently ravaged by warto Switzerland. Then we The Role Of Sublime In Mary Shelleys Frankenstein abandon our marvellous creation to fend for itself with his childlike innocence, and The Role Of Sublime In Mary Shelleys Frankenstein Examples Of Referral In Health And Social Care why it goes so horribly wrong The Role Of Sublime In Mary Shelleys Frankenstein blows up in our faces. Inthe couple and Mary's stepsister famously spent The Role Of Sublime In Mary Shelleys Frankenstein summer with Prohibition And Organized Crime The Role Of Sublime In Mary Shelleys Frankenstein and John William Polidori near GenevaSwitzerland, where Shelley conceived the The Role Of Sublime In Mary Shelleys Frankenstein for her novel Frankenstein. Godwin was angry and felt betrayed. So please forgive the random thoughts. When did Frankenstein fail as The Role Of Sublime In Mary Shelleys Frankenstein inventor and human The Role Of Sublime In Mary Shelleys Frankenstein

Mary Shelley-Frankenstein short summary- The Modern Prometheus-Net and Set Exam-

She was raised by her father, who provided her with a rich if informal education, encouraging her to adhere to his own anarchist political theories. When she was four, her father married a neighbour, Mary Jane Clairmont , with whom Shelley came to have a troubled relationship. In , Shelley began a romance with one of her father's political followers, Percy Bysshe Shelley , who was already married.

Together with her stepsister, Claire Clairmont , she and Percy left for France and travelled through Europe. Upon their return to England, Shelley was pregnant with Percy's child. Over the next two years, she and Percy faced ostracism, constant debt and the death of their prematurely born daughter. They married in late , after the suicide of Percy Shelley's first wife, Harriet. In , the couple and Mary's stepsister famously spent a summer with Lord Byron and John William Polidori near Geneva , Switzerland, where Shelley conceived the idea for her novel Frankenstein.

The Shelleys left Britain in for Italy, where their second and third children died before Shelley gave birth to her last and only surviving child, Percy Florence Shelley. In , her husband drowned when his sailing boat sank during a storm near Viareggio. A year later, Shelley returned to England and from then on devoted herself to the upbringing of her son and a career as a professional author. The last decade of her life was dogged by illness, most likely caused by the brain tumour which killed her at age Until the s, Shelley was known mainly for her efforts to publish her husband's works and for her novel Frankenstein , which remains widely read and has inspired many theatrical and film adaptations. Recent scholarship has yielded a more comprehensive view of Shelley's achievements.

Scholars have shown increasing interest in her literary output, particularly in her novels, which include the historical novels Valperga and Perkin Warbeck , the apocalyptic novel The Last Man and her final two novels, Lodore and Falkner Studies of her lesser-known works, such as the travel book Rambles in Germany and Italy and the biographical articles for Dionysius Lardner 's Cabinet Cyclopaedia — , support the growing view that Shelley remained a political radical throughout her life.

Shelley's works often argue that cooperation and sympathy, particularly as practised by women in the family, were the ways to reform civil society. This view was a direct challenge to the individualistic Romantic ethos promoted by Percy Shelley and the Enlightenment political theories articulated by her father, William Godwin. She was the second child of the feminist philosopher, educator, and writer Mary Wollstonecraft and the first child of the philosopher, novelist, and journalist William Godwin. Wollstonecraft died of puerperal fever shortly after Mary was born. Godwin was left to bring up Mary, along with her older half-sister, Fanny Imlay , Wollstonecraft's child by the American speculator Gilbert Imlay.

However, because the Memoirs revealed Wollstonecraft's affairs and her illegitimate child, they were seen as shocking. Mary Godwin read these memoirs and her mother's books, and was brought up to cherish her mother's memory. Mary's earliest years were happy, judging from the letters of William Godwin's housekeeper and nurse, Louisa Jones. Together, the Godwins started a publishing firm called M. Godwin, which sold children's books as well as stationery, maps, and games. However, the business did not turn a profit, and Godwin was forced to borrow substantial sums to keep it going.

By , Godwin's business was close to failure, and he was "near to despair". Though Mary Godwin received little formal education, her father tutored her in a broad range of subjects. He often took the children on educational outings, and they had access to his library and to the many intellectuals who visited him, including the Romantic poet Samuel Taylor Coleridge and the former vice-president of the United States Aaron Burr. She had a governess , a daily tutor, and read many of her father's children's books on Roman and Greek history in manuscript. Her desire of knowledge is great, and her perseverance in everything she undertakes almost invincible.

In June , Mary's father sent her to stay with the dissenting family of the radical William Baxter, near Dundee , Scotland. It was beneath the trees of the grounds belonging to our house, or on the bleak sides of the woodless mountains near, that my true compositions, the airy flights of my imagination, were born and fostered. Mary Godwin may have first met the radical poet-philosopher Percy Bysshe Shelley in the interval between her two stays in Scotland. Percy Shelley, therefore, had difficulty gaining access to money until he inherited his estate because his family did not want him wasting it on projects of "political justice". After several months of promises, Shelley announced that he either could not or would not pay off all of Godwin's debts.

Godwin was angry and felt betrayed. Mary and Percy began meeting each other secretly at her mother Mary Wollstonecraft 's grave in the churchyard of St Pancras Old Church , and they fell in love—she was 16, and he was At about the same time, Mary's father learned of Shelley's inability to pay off the father's debts. She saw Percy Shelley as an embodiment of her parents' liberal and reformist ideas of the s, particularly Godwin's view that marriage was a repressive monopoly, which he had argued in his edition of Political Justice but later retracted.

After convincing Mary Jane Godwin, who had pursued them to Calais , that they did not wish to return, the trio travelled to Paris, and then, by donkey, mule, carriage, and foot, through a France recently ravaged by war , to Switzerland. They travelled down the Rhine and by land to the Dutch port of Maassluis , arriving at Gravesend, Kent , on 13 September The situation awaiting Mary Godwin in England was fraught with complications, some of which she had not foreseen.

Either before or during the journey, she had become pregnant. She and Percy now found themselves penniless, and, to Mary's genuine surprise, her father refused to have anything to do with her. They maintained their intense programme of reading and writing, and entertained Percy Shelley's friends, such as Thomas Jefferson Hogg and the writer Thomas Love Peacock. Pregnant and often ill, Mary Godwin had to cope with Percy's joy at the birth of his son by Harriet Shelley in late and his constant outings with Claire Clairmont. My dearest Hogg my baby is dead—will you come to see me as soon as you can. I wish to see you—It was perfectly well when I went to bed—I awoke in the night to give it suck it appeared to be sleeping so quietly that I would not awake it. The loss of her child induced acute depression in Mary Godwin, who was haunted by visions of the baby; but she conceived again and had recovered by the summer.

At Bishopsgate, Percy wrote his poem Alastor, or The Spirit of Solitude ; and on 24 January , Mary gave birth to a second child, William, named after her father, and soon nicknamed "Willmouse". They planned to spend the summer with the poet Lord Byron , whose recent affair with Claire had left her pregnant. Byron joined them on 25 May, with his young physician, John William Polidori , [56] and rented the Villa Diodati , close to Lake Geneva at the village of Cologny ; Percy Shelley rented a smaller building called Maison Chapuis on the waterfront nearby. I was asked each morning, and each morning I was forced to reply with a mortifying negative. I saw the pale student of unhallowed arts kneeling beside the thing he had put together.

I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world. She began writing what she assumed would be a short story. With Percy Shelley's encouragement, she expanded this tale into her first novel, Frankenstein; or, The Modern Prometheus , published in In September , the astronomer Donald Olson, after a visit to the Lake Geneva villa the previous year, and inspecting data about the motion of the moon and stars, concluded that her waking dream took place "between 2am and 3am" 16 June , several days after the initial idea by Lord Byron that they each write a ghost story.

While her husband Percy encouraged her writing, the extent of Percy's contribution to the novel is unknown and has been argued over by readers and critics. James Rieger concluded Percy's "assistance at every point in the book's manufacture was so extensive that one hardly knows whether to regard him as editor or minor collaborator", while Anne K. Mellor later argued Percy only "made many technical corrections and several times clarified the narrative and thematic continuity of the text. Robinson, editor of a facsimile edition of the Frankenstein manuscripts, concluded that Percy's contributions to the book "were no more than what most publishers' editors have provided new or old authors or, in fact, what colleagues have provided to each other after reading each other's works in progress.

Writing on the th anniversary of Frankenstein , literary scholar and poet Fiona Sampson asked, "Why hasn't Mary Shelley gotten the respect she deserves? In fact, when I examined the notebooks myself, I realized that Percy did rather less than any line editor working in publishing today. On their return to England in September, Mary and Percy moved—with Claire Clairmont, who took lodgings nearby—to Bath , where they hoped to keep Claire's pregnancy secret. On the morning of 10 October, Fanny Imlay was found dead in a room at a Swansea inn, along with a suicide note and a laudanum bottle. Harriet's family obstructed Percy Shelley's efforts—fully supported by Mary Godwin—to assume custody of his two children by Harriet.

His lawyers advised him to improve his case by marrying; so he and Mary, who was pregnant again, married on 30 December at St Mildred's Church, Bread Street , London. Claire Clairmont gave birth to a baby girl on 13 January, at first called Alba, later Allegra. There Mary Shelley gave birth to her third child, Clara, on 2 September. At Marlow, they entertained their new friends Marianne and Leigh Hunt , worked hard at their writing, and often discussed politics.

Early in the summer of , Mary Shelley finished Frankenstein , which was published anonymously in January Reviewers and readers assumed that Percy Shelley was the author, since the book was published with his preface and dedicated to his political hero William Godwin. That autumn, Percy Shelley often lived away from home in London to evade creditors. The threat of a debtor's prison , combined with their ill health and fears of losing custody of their children, contributed to the couple's decision to leave England for Italy on 12 March , taking Claire Clairmont and Alba with them. One of the party's first tasks on arriving in Italy was to hand Alba over to Byron, who was living in Venice.

He had agreed to raise her so long as Claire had nothing more to do with her. The couple devoted their time to writing, reading, learning, sightseeing, and socialising. My dearest Mary, wherefore hast thou gone, And left me in this dreary world alone? Thy form is here indeed—a lovely one— But thou art fled, gone down a dreary road That leads to Sorrow's most obscure abode. For thine own sake I cannot follow thee Do thou return for mine. For a time, Mary Shelley found comfort only in her writing. Italy provided the Shelleys, Byron, and other exiles with political freedom unattainable at home.

Despite its associations with personal loss, Italy became for Mary Shelley "a country which memory painted as paradise". While Percy composed a series of major poems, Mary wrote the novel Matilda , [91] the historical novel Valperga , and the plays Proserpine and Midas. Mary wrote Valperga to help alleviate her father's financial difficulties, as Percy refused to assist him further. In December , the Shelleys travelled south with Claire Clairmont and their servants to Naples , where they stayed for three months, receiving only one visitor, a physician. After leaving Naples, the Shelleys settled in Rome, the city where her husband wrote where "the meanest streets were strewed with truncated columns, broken capitals The voice of dead time, in still vibrations, is breathed from these dumb things, animated and glorified as they were by man".

Once they were settled in, Percy broke the "evil news" to Claire that her daughter Allegra had died of typhus in a convent at Bagnacavallo. Rather than wait for a doctor, Percy sat her in a bath of ice to stanch the bleeding, an act the doctor later told him saved her life. The coast offered Percy Shelley and Edward Williams the chance to enjoy their "perfect plaything for the summer", a new sailing boat. Ten days after the storm, three bodies washed up on the coast near Viareggio , midway between Livorno and Lerici.

You are now five and twenty. And, most fortunately, you have pursued a course of reading and cultivated your mind in a manner the most admirably adapted to make you a great and successful author. If you cannot be independent, who should be? After her husband's death, Mary Shelley lived for a year with Leigh Hunt and his family in Genoa , where she often saw Byron and transcribed his poems. She resolved to live by her pen and for her son, but her financial situation was precarious. On 23 July , she left Genoa for England and stayed with her father and stepmother in the Strand until a small advance from her father-in-law enabled her to lodge nearby.

Mary Shelley rejected this idea instantly. Mary Shelley busied herself with editing her husband's poems, among other literary endeavours, but concern for her son restricted her options. Sir Timothy threatened to stop the allowance if any biography of the poet were published. She also felt ostracised by those who, like Sir Timothy, still disapproved of her relationship with Percy Bysshe Shelley. She may have been, in the words of her biographer Muriel Spark , "a little in love" with Jane. Jane later disillusioned her by gossiping that Percy had preferred her to Mary, owing to Mary's inadequacy as a wife.

Payne fell in love with her and in asked her to marry him. She refused, saying that after being married to one genius, she could only marry another. Mary Shelley was aware of Payne's plan, but how seriously she took it is unclear. In , Mary Shelley was party to a scheme that enabled her friend Isabel Robinson and Isabel's lover, Mary Diana Dods , who wrote under the name David Lyndsay, to embark on a life together in France as husband and wife.

Weeks later she recovered, unscarred but without her youthful beauty. During the period —40, Mary Shelley was busy as an editor and writer. She also wrote stories for ladies' magazines. She was still helping to support her father, and they looked out for publishers for each other. By , Percy's works were well-known and increasingly admired. Mary found a way to tell the story of Percy's life, nonetheless: she included extensive biographical notes about the poems.

Shelley continued to practice her mother's feminist principles by extending aid to women whom society disapproved of. Mary Shelley continued to treat potential romantic partners with caution. Mary Shelley's first concern during these years was the welfare of Percy Florence. She honoured her late husband's wish that his son attend public school and, with Sir Timothy's grudging help, had him educated at Harrow. To avoid boarding fees, she moved to Harrow on the Hill herself so that Percy could attend as a day scholar. In and , mother and son travelled together on the continent, journeys that Mary Shelley recorded in Rambles in Germany and Italy in , and In the mids, Mary Shelley found herself the target of three separate blackmailers.

In , an Italian political exile called Gatteschi, whom she had met in Paris, threatened to publish letters she had sent him. A friend of her son's bribed a police chief into seizing Gatteschi's papers, including the letters, which were then destroyed. Byron and posing as the illegitimate son of the late Lord Byron. The marriage proved a happy one, and Mary Shelley and Jane were fond of each other. Mary Shelley's last years were blighted by illness. From , she suffered from headaches and bouts of paralysis in parts of her body, which sometimes prevented her from reading and writing. According to Jane Shelley, Mary Shelley had asked to be buried with her mother and father; but Percy and Jane, judging the graveyard at St Pancras to be "dreadful", chose to bury her instead at St Peter's Church, Bournemouth , near their new home at Boscombe.

Mary Shelley lived a literary life. Her father encouraged her to learn to write by composing letters, [] and her favourite occupation as a child was writing stories. He was forever inciting me to obtain literary reputation. Certain sections of Mary Shelley's novels are often interpreted as masked rewritings of her life. Critics have pointed to the recurrence of the father—daughter motif in particular as evidence of this autobiographical style. Lord Raymond, who leaves England to fight for the Greeks and dies in Constantinople , is based on Lord Byron ; and the utopian Adrian, Earl of Windsor, who leads his followers in search of a natural paradise and dies when his boat sinks in a storm, is a fictional portrait of Percy Bysshe Shelley.

The private chronicles, from which the foregoing relation has been collected, end with the death of Euthanasia. It is therefore in public histories alone that we find an account of the last years of the life of Castruccio. Mary Shelley employed the techniques of many different novelistic genres, most vividly the Godwinian novel, Walter Scott's new historical novel, and the Gothic novel. The Godwinian novel, made popular during the s with works such as Godwin's Caleb Williams , "employed a Rousseauvian confessional form to explore the contradictory relations between the self and society", [] and Frankenstein exhibits many of the same themes and literary devices as Godwin's novel.

Shelley uses the historical novel to comment on gender relations; for example, Valperga is a feminist version of Scott's masculinist genre. Through her, Shelley offers a feminine alternative to the masculine power politics that destroy the male characters. The novel provides a more inclusive historical narrative to challenge the one which usually relates only masculine events. With the rise of feminist literary criticism in the s, Mary Shelley's works, particularly Frankenstein , began to attract much more attention from scholars. Feminist and psychoanalytic critics were largely responsible for the recovery from neglect of Shelley as a writer.

Mellor suggests that, from a feminist viewpoint, it is a story "about what happens when a man tries to have a baby without a woman Sandra Gilbert and Susan Gubar argue in their seminal book The Madwoman in the Attic that in Frankenstein in particular, Shelley responded to the masculine literary tradition represented by John Milton's Paradise Lost. In their interpretation, Shelley reaffirms this masculine tradition, including the misogyny inherent in it, but at the same time "conceal[s] fantasies of equality that occasionally erupt in monstrous images of rage". Feminist critics often focus on how authorship itself, particularly female authorship, is represented in and through Shelley's novels.

Shelley's writings focus on the role of the family in society and women's role within that family. She celebrates the "feminine affections and compassion" associated with the family and suggests that civil society will fail without them. The novel is engaged with political and ideological issues, particularly the education and social role of women. In the view of Shelley scholar Betty T. Bennett , "the novel proposes egalitarian educational paradigms for women and men, which would bring social justice as well as the spiritual and intellectual means by which to meet the challenges life invariably brings".

Frankenstein , like much Gothic fiction of the period, mixes a visceral and alienating subject matter with speculative and thought-provoking themes. These traits are not portrayed positively; as Blumberg writes, "his relentless ambition is a self-delusion, clothed as quest for truth". Mary Shelley believed in the Enlightenment idea that people could improve society through the responsible exercise of political power, but she feared that the irresponsible exercise of power would lead to chaos. The creature in Frankenstein , for example, reads books associated with radical ideals but the education he gains from them is ultimately useless. As literary scholar Kari Lokke writes, The Last Man , more so than Frankenstein , "in its refusal to place humanity at the centre of the universe, its questioning of our privileged position in relation to nature There is a new scholarly emphasis on Shelley as a lifelong reformer, deeply engaged in the liberal and feminist concerns of her day.

Critics have until recently cited Lodore and Falkner as evidence of increasing conservatism in Mary Shelley's later works. In , Mary Poovey influentially identified the retreat of Mary Shelley's reformist politics into the "separate sphere" of the domestic. She thereby implicitly endorsed a conservative vision of gradual evolutionary reform. However, in the last decade or so this view has been challenged. For example, Bennett claims that Mary Shelley's works reveal a consistent commitment to Romantic idealism and political reform [] and Jane Blumberg's study of Shelley's early novels argues that her career cannot be easily divided into radical and conservative halves.

She contends that "Shelley was never a passionate radical like her husband and her later lifestyle was not abruptly assumed nor was it a betrayal. She was in fact challenging the political and literary influences of her circle in her first work. Victor Frankenstein's "thoughtless rejection of family", for example, is seen as evidence of Shelley's constant concern for the domestic. In the s and s, Mary Shelley frequently wrote short stories for gift books or annuals, including sixteen for The Keepsake , which was aimed at middle-class women and bound in silk, with gilt -edged pages.

She explains that "the annuals were a major mode of literary production in the s and s", with The Keepsake the most successful. Many of Shelley's stories are set in places or times far removed from early 19th-century Britain, such as Greece and the reign of Henry IV of France. Shelley was particularly interested in "the fragility of individual identity" and often depicted "the way a person's role in the world can be cataclysmically altered either by an internal emotional upheaval, or by some supernatural occurrence that mirrors an internal schism".

She wrote to Leigh Hunt, "I write bad articles which help to make me miserable—but I am going to plunge into a novel and hope that its clear water will wash off the mud of the magazines. When they ran off to France in the summer of , Mary Godwin and Percy Shelley began a joint journal, [] which they published in under the title History of a Six Weeks' Tour , adding four letters, two by each of them, based on their visit to Geneva in , along with Percy Shelley's poem " Mont Blanc ". The work celebrates youthful love and political idealism and consciously follows the example of Mary Wollstonecraft and others who had combined travelling with writing. They also explore the sublimity of Lake Geneva and Mont Blanc as well as the revolutionary legacy of the philosopher and novelist Jean-Jacques Rousseau.

Mary Shelley's last full-length book, written in the form of letters and published in , was Rambles in Germany and Italy in , and , which recorded her travels with her son Percy Florence and his university friends. In Rambles , Shelley follows the tradition of Mary Wollstonecraft's Letters Written in Sweden, Norway, and Denmark and her own A History of a Six Weeks' Tour in mapping her personal and political landscape through the discourse of sensibility and sympathy. These formed part of Lardner's Cabinet Cyclopaedia , one of the best of many such series produced in the s and s in response to growing middle-class demand for self-education.

For Shelley, biographical writing was supposed to, in her words, "form as it were a school in which to study the philosophy of history", [] and to teach "lessons". Most frequently and importantly, these lessons consisted of criticisms of male-dominated institutions such as primogeniture. Her conviction that such forces could improve society connects her biographical approach with that of other early feminist historians such as Mary Hays and Anna Jameson.

The other, the eagerness and ardour with which he was attached to the cause of human happiness and improvement. Soon after Percy Shelley's death, Mary Shelley determined to write his biography. In , while she was working on the Lives , she prepared a new edition of his poetry, which became, in the words of literary scholar Susan J. Wolfson , "the canonizing event" in the history of her husband's reputation. Evading Sir Timothy's ban on a biography, Mary Shelley often included in these editions her own annotations and reflections on her husband's life and work.

Despite the emotions stirred by this task, Mary Shelley arguably proved herself in many respects a professional and scholarly editor. After she restored them in the second edition, Moxon was prosecuted and convicted of blasphemous libel , though the prosecution was brought out of principle by the Chartist publisher Henry Hetherington , and no punishment was sought. As Bennett explains, "biographers and critics agree that Mary Shelley's commitment to bring Shelley the notice she believed his works merited was the single, major force that established Shelley's reputation during a period when he almost certainly would have faded from public view".

In her own lifetime, Mary Shelley was taken seriously as a writer, though reviewers often missed her writings' political edge. After her death, however, she was chiefly remembered as the wife of Percy Bysshe Shelley and as the author of Frankenstein. It is as the wife of [Percy Bysshe Shelley] that she excites our interest. Bennett published the first volume of Mary Shelley's complete letters. As she explains, "the fact is that until recent years scholars have generally regarded Mary Wollstonecraft Shelley as a result: William Godwin's and Mary Wollstonecraft's daughter who became Shelley's Pygmalion.

The attempts of Mary Shelley's son and daughter-in-law to "Victorianise" her memory by censoring biographical documents contributed to a perception of Mary Shelley as a more conventional, less reformist figure than her works suggest. Her own timid omissions from Percy Shelley's works and her quiet avoidance of public controversy in her later years added to this impression. Commentary by Hogg , Trelawny , and other admirers of Percy Shelley also tended to downplay Mary Shelley's radicalism. Trelawny's Records of Shelley, Byron, and the Author praised Percy Shelley at the expense of Mary, questioning her intelligence and even her authorship of Frankenstein.

From Frankenstein' s first theatrical adaptation in to the cinematic adaptations of the 20th century, including the first cinematic version in and now-famous versions such as James Whale's Frankenstein , Mel Brooks ' satirical Young Frankenstein , and Kenneth Branagh 's Mary Shelley's Frankenstein , many audiences first encounter the work of Mary Shelley through adaptation. Her habit of intensive reading and study, revealed in her journals and letters and reflected in her works, is now better appreciated. For me though it's the beautiful first stanza that better expresses the ferocious intensity of Mary and her circle of friends and lovers, surrounded as they all seemed to be by imminent, premature death: We are as clouds that veil the midnight moon; How restlessly they speed, and gleam, and quiver, Streaking the darkness radiantly!

But the writing they left behind will last as long as English literature is read, and for all of its problems Frankenstein is among that select group. View all 33 comments. The writing is beautiful, the audiobook is good but damn the part where the monster tells you his life is boooooring! View all 23 comments. View all 3 comments. A man, and not a man; a life, and an un-life. Hair and lips of lustrous black, skin of parchment yellow, watery eyes of dun-colored white. The stature of a giant. A horror among men! And so my creator fled me, horrified of his creation.

And so I fled my place of birth, to seek lessons amongst the human kind. My lonesome lessons learnt: man is a loving and noble creature; learning is pathway to beauty, to kindness, to fellowship. And this I also learnt: to witness what diffe And this I also learnt: to witness what differs, to meet what may be noble under the skin but ugly above it Man is a brutal and heartless creature. And as I was rejected, I do so reject: turn from me and you shall find my cold hands, seeking some bitter warmth O wretched creature am I! My tale is told by Mary Wollstonecraft Shelley, in the loveliest and most vivid of flowing prose.

A wise writer is this Mary Shelley - and at such a young age! The narrative is as three nesting Russian dolls, a thin one to contain them all, a second of weightier proportions, and a third one within - its gentle and broken heart. That inner story, the smallest, is of my youth - a life of fear, but also of learning, of growing into myself, of witnessing the beauty around me. Of spying upon the family De Lacey - their unknown son. Their own tale is one of bravery and gentleness, of humanity at its weakest and strongest, of survival. But mine is of friendship spurned, kindness returned with terror, a stark rejection, and then a house in flames. And with that burning house burned all the love within this scarcely beating un-heart The middle story is of my creator, Victor Frankenstein: spoiled child, spoiled man, dreamer, visionary, coward; the foolish instrument of his own despair.

A curse upon him, and a blessing, and a curse again! The outer layer is a story of wintry landscapes, an exploration of the icy reaches and the final doom of my creator. It is as well a tale of longing: for justice and for revenge, of course Alas, Captain Walton, a sensitive and lonely soul I could have been your own brother, such was the depth of our shared yearnings O wretched are those who walk the earth alone!

My father and mother both: Victor Frankenstein. Curse the man who rejects his offspring! Curse the man who seeks to forget his own creation! I was the fruit of his mind and of his labors, born rotten, and thus cast away. The tale of my maker is the tale of a parent suddenly fearful of his young, terrified of what he has wrought. It is a tale of responsibility rejected. The record of his actions are of criminal neglect, of shameful weakness, of a man who lives so much in his thoughts that the world around him crumbles, and the people in that world become abused.

My wretched self most of all! And yet I am more than his cast-out son. I am the Frankenstein's shadow self: capable of the sublime, yet enacting the abominable. What is dear to him shall be mine to destroy. His precious ideals shall be the instrument of his destruction. As he would embrace his youngest brother, his dearest friend, his beloved wife And as his shadow self, I will follow him as he will follow me, I will lead him to his destiny, on a terrible trail he has forged himself. I shall spare him, and all others, only the faintest pity O wretched are those who cross my path! My story is not simply one of thoughtless cruelty or hideous revenge. It is also one of beauty, and of ugliness. Behold the many descriptions of the natural world, the myriad and vivid wonders of nature, of mountain and forest and lake and ocean.

There is true beauty. It is a fact upon which we three - Victor Frankenstein and Captain Walton and I - are truly of one mind. In nature there is true transcendence! But alas, it is not simply nature that is judged as beauty, or as ugliness. Inspect the story closely. Note the good fortune of the child Elizabeth, raised in squalor and then lifted into comfort. Why was she so chosen? Because of her fortunate beauty, her golden hair A typical act for the human species: forever embracing the fair and turning away from what their eyes call foul. Terrible human nature, that judges the surface alone. Study Victor's reactions to his professors, both steeped in wisdom: one kindly and elegant in appearance, the other misshapen and coarse See Victor's uncaring and hysterical flight from his own child - myself!

Watch his descent into illness at the mere idea of such ugliness. Witness the family De Lacey, and their rejection of one who sought only to ease their burdens, to bring their kindness back upon them - a being who only craved love! Again and again, the pleasant surface is favored over the ill-formed; the unknown depths to remain unknowable. Foolish humans - victims of their conceits, forever enchanted by what they call beauty. Foul and petty humans - they are villains of their own making. A curse upon them! And so rejected and abandoned, I shall bring ugliness back to their doorstep. I become nemesis; and shall live forever as your deadly child, a perilous inheritance, a nightmare of your own creation O wretched are you all!

View all 81 comments. Frankenstein follows Victor, a scientist on a mission to create new life from old carcasses — until his plan, of course, backfires. What ensues is perhaps fairly well-known in popular culture: the killing of his brother, the framing of his tutor, Justine, and the murder of his wife Elizabeth. With the help of his wife, Elizabeth, and his loving family, he must find a way to save not only his family, but his soul. It is amazing that such a basic plot, written in literally , can be so compelli Frankenstein follows Victor, a scientist on a mission to create new life from old carcasses — until his plan, of course, backfires.

It is amazing that such a basic plot, written in literally , can be so compelling and so subversive. In this reading, the book would be in favor of a balance between the irrational and the scientific. Elizabeth and Henry, the "good" characters, both help others, while Victor, who is a dick, does nothing. This is surprising and not entirely in line with the Romantic-individualist spirit. Universalism stays winning. In this reading, the monster could perhaps be viewed as her lost child, a creation born off the fantasy of bringing back the lost.

Some of the more hair-raising aspects come in small detail — that the crew of the original ship sees the creature and unknowingly let it pass is bone-chilling; that Justine is not only prosecuted and killed for the crimes of the monster, but hated by her whole family, is absolutely horrific. All of these elements to the novel are interesting. But what makes the horror of Frankenstein so compelling is this: we are not combating a mindless horror, but a tragic figure, unnamed but still deeply human. A less imaginative writer would have reduced Frankenstein to a one-note character, yet Shelley refuses this route with her characters.

The creature does not lack in the fundamental humanity of us; he uses long words and is shockingly articulate; he acts on both instinctual thought and logical thought. In fact, his one desire is a mate, companionship of his own, to not remain unloved and alone and to find human connection of his own. This forms the character of the monster into a sympathetic character, despite his flaws; it turns the story into one of the failure of human compassion, rather than one of an evil monster.

I am so sorry this was so long winded but I absolutely refuse not to use at least some of my prowess and writing from this very heavily researched term paper. Yet perhaps more importantly, she has created a long-discussed work in every genre from horror to sci-fi and on every theme from feminism to Romanticism. And just as it has remained a prime subject of criticism, it has remained a fantastically enjoyable book for reading. Blog Goodreads Twitter Instagram Youtube View all 17 comments. Jun 30, Kevin Kuhn rated it it was amazing Shelves: horror , science-fiction. Mary Shelley won to put it mildly by creating one of the earlier gothic horror novels.

Gas lighting was only recently improved and deployed in many cities in Europe. Luddites were destroying machines in Britain over concerns about losing their jobs. Antarctica had yet to be discovered. It was a tumultuous time of war and discovery. Obviously, the work has inspired countless movies, plays, and television series. The Frankenstein monster remains as one of the most familiar images in horror. The story has its flaws. The various narrators Victor Frankenstein, the monster, etc. If all you know about Frankenstein is based on movies and TV shows, this original novel will likely surprise you.

I easily give it five stars not only for its cultural impact, but also for the pioneering exploration which allowed future horror and science fiction to progress. If you are a horror or science fiction fan and you've never read it, you must! An re-read with a review worth posting once again. The novel opens with a set of letters by Captain Robert Walton to his sister back in England. Captain Walton is travelling through the Arctic to further his scientific appetite. The captain and crew notice a large creature travell An re-read with a review worth posting once again. The captain and crew notice a large creature travelling over the ice and eventually stumble upon a nearly frozen Victor Frankenstein, who tells the story of his scientific struggles and tries to dissuade Walton from any such pursuits.

Armed with the knowledge of the ancient natural philosophers, he takes this passion with him to university in Germany, where he is introduced to more modern ways of thinking. Creating a being in secret, Frankenstein soon sees that it has gone horribly wrong, both the physical appearance of this eight-foot behemoth tempered with translucent skin and pulsing veins and the decision to play God. Frankenstein rages against his creation and flees for the city, only to return and see that the being has fled the confines of his flat.

Frankenstein becomes ill and recuperates over a four-month period before returning to his native Geneva. Upon his arrival, he discovers that his younger brother has been killed. Frankenstein sees the tell-tale signs of his creation having strangled the young boy, though the crime is saddled upon a nanny and she is executed by hanging. The creature tells of how he learned the nuances of language and speech, the complexities of emotion as well as discovering of his hideous appearance.

The creature vows to ruin the life of his creator unless he is gifted with a female companion. Frankenstein ponders this and promises to make one, having been threatened with more personal anguish if he fails. Frankenstein travels to the far reaches of Scotland to begin his work, eyed by the creature from afar. When Frankenstein has a final epiphany that his hands can create nothing but increased terror, he disposes with his experiment, knowing the consequences. More agony befalls Frankenstein, who seeks to destroy his creation once and for all. A brilliant piece that is full of social commentary and much foreboding as it relates to science. A wonderful read for those who like a good challenge. The themes that emanate from the story at hand are numerous and thought provoking.

The reader can easily get lost in the narrative and its linguistic nuances, but it is the characters and their messages that permeate the text. Victor Frankenstein and his creature prove to be two very interesting and yet contrasting characters, developed primarily through their individual narratives. Frankenstein is the bright-eyed scientific mind who seeks to alter the path of events by imbuing something of his own making with life, only to discover that thought and reality do not mesh.

The plethora of other characters develop and support these two, with Captain Walton playing an interesting, yet seemingly background, role in the entire narrative. This is a piece of social commentary that prefers to scare in its foreboding and provides a much more academic approach than might be suspected by the unknowing reader. I was pleased with the novel and all it had to offer. I am sure it will provide a wonderful soapbox for those who wish to open a discussion on the matter.

I would welcome it. Kudos, Madam Shelley, for this wonderful piece. That you started it at the ripe age of eighteen baffles and impresses me. I will be adding this to my annual late October reading list! View all 13 comments. Beware; for I am fearless, and therefore powerful. Well, finally I read the original novel after watching infinite film adaptations, variations of the theme and even odd approaches to the topic. I was sure that I would enjoy a lot the novel but sadly, compelled to write an honest review, I have to say that barely I was able to give it a 3-star rating, that I think it's the fairest rating that I can give to the book.

The original premise is astonishing, the following impact in popular culture is Beware; for I am fearless, and therefore powerful. The original premise is astonishing, the following impact in popular culture is priceless and certainly the story "behind-of-the-scenes" of the creation of the novel is fascinating. However, the actual writing of the book is tedious, the narration style is odd and the rhythm of the story is too slow. The socio-cultural impact of this novel has been monumental in all kind of media. And the winners are The rookies!!! Since while Percy Shelley and Lord Byron were acomplished writers, they weren't able to come up with something to compete against Polidori's The Vampyre and Mary Shelley's Frankenstein.

Also, there is the tale of how Mary Shelley came up with the basic idea of the book. She claimed that she had a dream showing the lab with the mad scientist giving life to a hideous creature through the power of a lightning. I won't question her version. I only want to point out the existence of an actual Frankenstein's Castle, located in a town of Germany where, besides several paranormal stories about it, there is a local rumour, that a fellow with the name of Johann Conrad Dippel was a supposed alchemist that created a monster using a bolf of lightning Where did I heard something just like this?

Try to came up with a cooler legend! However, Mary always declared that she wasn't aware of that castle and the legends tied to it. Let's take out the part of the step-mother and the Grimm Brothers. It's virtually impossible to believe that Mary Shelley never heard, in some way, about the existence of Frankenstein's Castle and the particular tale of Dippel. Without irrespecting the memory of Mary Shelley, this is just like the story of Diablo Cody, winner of an Oscar for Best "Original" Screenplay for the film Juno of The main theme of this film is about a teen pregancy.

However, in , there was a South Korean film titled Jenny, Juno that it was a romantic dramedy movie about teen pregnancy too. Diablo Cody declared that she never heard before of that South Korean film. Sure, because Juno is such a common name in America that it was an innocent coincidence. By the way, Juno is the name's boyfriend in the South Korean's movie, instead of the female Juno performed by Ellen Page. American Juno and South Korean Jenny, Juno have totally different stories, different approaches to the subject and even different reactions to the event along with different endings.

The only dang similarity is that both are about teen pregnancies. I am not accusing Diablo Cody of plagiarism. That's not the point. I only say that was so hard for her to admit that she watched or heard about the South Korean film and that gave her an inspiration for her own screenplay? In the same way, was so hard for Mary Shelley to admit that she got in contact in some way with the legend of Dippel and the Frankenstein's Castle and she used it as inspiration for her own original book?

At least that will make harder to make the connections and even making a more plausible deniability!!! I could not understand why men who knew all about good and evil could hate and kill each other. THE BAD The writing of the book is tedious, or to be more accurate is a too slow burner that it took too much to get into the real story and even worse, once the "action" started, you have again intervals of tedium. It's indeed a roller coaster but in a bad sense, since you took too much time in the tedious way up and the moments of intensity are like split-seconds on the way down. The narration style is odd since the book begins with some letters written by a ship's captain, and the first four letters are boring filler stuff non-relevant to the actual story, and until the fifth letter the story really started.

However, later of that, the narration changed to the "voice" of Dr. Victor Frankenstein, but again, our good mad scientist takes too much time to get to the point telling a lot of non-relevant boring details, even worse, it's told in the most tedious "tone of voice" that you can imagine. Without emotion or trying to entertain to the reader. The chapters of the Creature are more entertained but also, sometimes you wonder how possible is that this monster so submitted to rage and murder is able to articule so well his part of the story.

So, between that the novel is slow burner, and the moments of real horror with awful deaths are so scarce and presented so quick that you can't even develop the proper emotion on that moments, I wasn't able to enjoy this book as I expected that I would. However, I can't deny the relevant place that this novel has in the history of literature and its impact in multiple ways of the spectrum. Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust? View all 52 comments. He is ugly and humanity does like to punish the ugly - this is a universal truth about us that in itself is also fairly ugly.

The other thing I liked was that standard ploy of gothic novels — the multiple Chinese whisper narration. In this the story is all written in a series of letters and then continuous prose to the sister of a sea captain who hears the story on a journey to the North Pole from Frankenstein himself, even though much of the story is also told to Frankenstein by his monster. I do like stories like this -that are like Russian Dolls — where it is hard to tell who is telling the story and just how reliable they could be as a narrator.

I'm not sure I would trust anything an adventurer sea captain told me about anything - and in the end he is the only source. Unfortunately, that is about all that I did like. I would have said I know this story well before I read the book. There have been endless films made of this story — so there are elements to the story that are etched into our collective memories. It comes then as a bit of a shock that many most of these elements are not in the story at all. I guess that is yet another example of the power of images. The other difference is that in films the monster is a slow moving automaton, whereas in the book he is much swifter, stronger and agile than people.

Frankenstein may not have made a very good looking monster, but in every other respect he did a much better job than God did. Frankenstein is a very fast learner - he learns to speak in less than a year. And given the poverty of instruction Chomsky would really be proud! Coincidences rarely work in fiction — and while they bring delight when they happen in life, in fiction they tend to stop us in our wilful suspension of disbelief. The problem is that this story seems to go out of its way to make us do tutting noises at the improbabilities and constantly strained plotting twists. You know, hint - if telling me something silly isn't going to improve the story, don't tell me something silly. I thought there were some interesting comments about the obligations Gods have to their creations.

He spends most of his time swooning — it seemed the slightest problem has him rushing to his bed for months on end. A friend dies and he is almost at death's door himself. About the only things he never did was tear at either his hair or his clothes — but that is hardly high praise. If it is horror you want, Stephen King is much more frightening, never tells you how scared you are supposed to feel at any given moment in the story and is basically a better writer.

But this is a seminal horror story, so I guess for that reason alone… View all 50 comments. I loved it! Before reading this book I had heard the story we all know about Frankestein. A suffered no-human being and blah blah blah. However, the story, how is written in general is amazing. The description of Viktor, what he suffered to build that monster , how obsessed he was about that. And then, well, no need to describe how much this poor little creature suffered. One can say "that life is suffered, but many lives are About the details in the book, I will keep it for myself and I will just share them with someone who wants to talk to me about this book. I don't like to spoil much. I totally recommend it. Click here to watch a video review of this book on my channel, From Beginning to Bookend.

A sorrowful tale of lost love and self-loathing conveyed with divine prose. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. There is an elegant symmetry to this. This is a visage that is ubiquitous every October, found in movies, on television, and selling Halloween candy. Frankly, this was probably the only fun I had, as Frankenstein , for all its bursts of creativity, its sudden flashes of discrete violence, is a bit of a wordy drag. It is fully a piece from the Romantic era, from the overwrought emotional excesses of its characters, to the gorgeous, travelogue-like descriptions of the Alps.

According to Shelley — in an forward to the revised text — Frankenstein had its genesis in a spontaneous parlor game between famed wordsmiths, of which she took part. Byron apparently suggested they each write a ghost story, since the weather was too lousy to do much else. The short story she began in a cold and dispiriting Switzerland eventually became a full-length novel that is currently enjoying a two-hundred year afterlife. There is free love, unfounded suggestions that Percy penned Frankenstein , and tragedy aplenty. Initially, I was entirely uncertain what these missives had to do with Frankenstein and his monster. As a result, the novel started extremely slow for me, as I found myself reading only a couple pages at a time before losing interest, never really finding the hook.

Ultimately — as you can see — I pushed through, but it was only much later, when the letters reappear at the end, that everything clicked into place and I went back and reread the opening gambit. Once this prelude is out of the way, we begin the main part of the narrative, which is told in the first-person by the emotionally labile Frankenstein. For reasons put down to obsession, young Frankenstein is preoccupied with creating new life. Working alone and in fanatical devotion to his goal, Frankenstein begins assembling his thing : I collected bones from charnel-houses; and disturbed, with profane fingers, the tremendous secrets of the human frame. In a solitary chamber, or rather cell, at the top of the house, and separated from all the other apartments by a gallery and staircase, I kept my workshop of filthy creation: my eye-balls were starting from their sockets in attending to the details of my employment.

The dissecting room and the slaughterhouse furnished many of my materials; and often did my human nature turn with loathing from my occupation, whilst, still urged on by an eagerness which perpetually increased, I brought my work near to a conclusion. It does not — should not — spoil anything to say that Frankenstein is successful in his endeavors, at least up to a point. Frankenstein and his monster engage in a globetrotting game of cat-and-mouse, which might have been exciting, if not written in the overly formal, cluttered style of the early nineteenth century.

Shelley tells this story broadly, seldom taking any time to build a scene, ratchet up suspense, or pay off a plot arc. It says something that the high point of Frankenstein is a story-within-a-story in true Conradian fashion told by the monster itself. Honestly, I have a predisposition against books written in the archaic-feeling style of Frankenstein. Alas, it has been two decades since high school, and my bias against writers who use thee and thy still abides.

I also did not hate it, not by any means. The story works better in summary than in execution, and it requires close attention, but it is a genuine triumph of imagination. Certain books have meanings beyond the composition of sentences and the contours of a storyline. Shelley created something in Frankenstein that has endured for a couple centuries, and will likely live on forever, as long as people read. View all 7 comments. Oct 29, J. If you have not read the book, then you do not know Frankenstein or his monster. Certainly, there is a creature in our modern mythology which bears that name, but he bears strikingly little resemblance to the original. It is the opposite with Dracula , where, if you have seen the films, you know the story.

Indeed, there is a striking similarity between nearly all the Dracula films, the same story being told over and over again: Harker, bug-eating Renfield, doting Mina, the seduction of Lucy, Dr. V If you have not read the book, then you do not know Frankenstein or his monster. Van Helsing, the sea voyage from Varna, the great decaying estate--it's all there, in both book and cultural myth. Even the lines tend to recur, as almost every retelling has some version of the famed "I never drink--wine. The first puzzlement comes when the story begins on a swift ship in the arctic, told in letters between the captain and his beloved sister.

The structure of the story as it follows is, in many ways, not ideal. It is not streamlined, focused, or particularly believable. It seems that every picturesque cabin in the woods is inhabited by fallen nobility, that every criminal trial is undertaken on false pretenses to destroy some innocent person, that an eight-foot-tall monstrosity can live in your woodshed for a year without being noticed, and that that same monstrosity can learn to be fluent and even eloquent in both speaking and reading an unknown language merely by watching its use. The style itself is ponderous and florid, as Shelley ever is, which is fine when she has some interesting idea to communicate, but bothersome when she finds herself vacillating--which is often, since our hero, the good doctor, is constantly sitting about, thinking about what he might do next, and usually, avoiding actually doing anything.

I understand the deep conflict within him, but it might have been more effective to actually see him act on some of his momentary urges before switching instead of letting it all play out in his head. But then, it's hard to think of him as the hero, anyways, since his activities tend to be so destructive to everyone around him. Sure, he is aware of this tendency--hyper-aware, really--and constantly blames himself, but he doesn't come across as especially sympathetic. The monster, on the other hand, is truly naive and hopeless, unable to change his fate though he often tries to do so, while the doctor tends to avoid doing anything that might improve the situation. There is a very Greek sense of tragedy at hand, in that we have a man who, though combined action and inaction, drives himself inevitably to utter ruin.

As Edith Hamilton defines it, tragedy is a terrible event befalling someone who has such deep capacity for emotion that they are able to recognize and feel every awful moment, and Dr. Frankenstein certainly has this capacity. In fact, he seems to have an overabundance of such feeling, to the point that he spends most of his time wallowing and declaring his woe--which is not always endearing. But the tragedy remains the most interesting and engaging part of the book, overcoming the sometimes repetitive details of the story. It is an entwined tragedy, a double tragedy between the man and his creation, and it's never quite clear who is at fault, who is the villain, and who is the wretch.

The roles are often traded from moment to moment, and there is no simple answer to wrap up the conflict. Of course, the classic reading of this is an exploration of the relationship between man and his universe often personified by 'god'. As human beings, we see our lives as a narrative, ourselves as the hero, and we look for villains to blame for our short-comings. Looking at the tale as it is presented, it is easy to read Dr.

Frankenstein as the figure of 'god', the creator and authority, the author of life. We see the monster's pain and suffering and on one hand, it is all the result of his being created in the first place, and of his creator not planning well enough. But beyond that, there are also the actions and choices the monster makes that make him a monster--his own will. But I began to look at it in the opposite way: the doctor creates a monster for which he can blame all of his problems, a force which dictates every moment of his life, which causes all of his pains, which haunts him, powerful and unseen, at every moment.

Frankenstein has created a god. He has made a force which can lord over him, a god which resembles man, only more powerful, indestructible, inescapable, terrible. In the end, who is the real 'modern Prometheus'? For almost the entire book, the only person who ever sees the monster is the doctor himself, and since the doctor is present for all of the killings, it isn't hard to interpret this story as the self-justification of a madman: the doctor, himself, could be doing all of the killings, causing all of the malice, and then explaining it away as the acts of a horrific creature that only he can see, that only he can speak to. However, I am not willing to carry this 'unreliable narrator' reading to its bitter end, since the story itself does not quite support it--but the fact that the monster can almost be read this way intensifies to the degree to which it is a story of two intertwined egos, each one blaming the other, like so many toxic relationships between people, or even between one half of a troubled mind and the other.

But for all that the core idea of the story is strong and thought-provoking, it is still long-winded, unfocused, and repetitive. It is certainly impressive for the first novel of a nineteen-year-old, and demonstrates splendid imagination, but it does not benefit from her literary affectations. However, her style is still thoughtful and refined, unlike the halting half-measures of Stoker's small-minded Dracula , there is a great expanse here, a wide vista which well-reflects the Victorian artist's obsession with the horror of 'the sublime'.

Feb 26, Peter rated it really liked it Shelves: horror , around-the-world , literary-fiction. Certainly one of the greatest monster stories of all time and credited for creating the mad scientist and being the first science fiction story. The story starts with several letters written by Robert Walton to his sister Margaret telling of his exploration, his ambition in the frozen Arctic circle, and the glory he could acclaim with illustrious recognition. The following day they come across another man travelling in the same direction but needing rescuing as he has lost his pack of dogs and his sledge. This stranger needs care, and during his rehabilitation, he tells Robert his life story and why he was chasing the man from the previous day.

We know the main story of Victor Frankenstein, the scientist that played God and undertook his scientific research to create a living individual, only to realise he created a monster. For this, I had deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation, but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Interestingly, different readers will find context and meaning running as deeper themes, and I applaud Mary Shelley for adding depth to a story beyond horror, which illustrates her intuitive talent. The psychological theme that underpins the main characters is loneliness. Robert Walton, desperate for a friend, Victor Frankenstein separated from his loving family and alone in his work, and the monster, a freak, so fatally different and doomed to isolation.

Although we do question who the real monster was. The sense of segregation and seclusion pervades the mood throughout the novel. The prose and structure of the book certainly have a style associated with that period, and I find this a personal choice whether you prefer this over modern language. The themes often settle on anxious thoughts and dilemmas from Robert or Frankenstein, and in telling the story, I felt this a little laboured at times.

What is additionally quite interesting is the background to Mary Shelley. While she claimed to come across the Frankenstein story by way of a dream, it seems more likely that it was a daydream as she prepared to enter a horror-story competition and pulled on real places and names. Over the next two years, she gave birth to two children. While there, year-old Mary started Frankenstein, and it was first published anomalously in I would recommend reading this book as one of the classics, but it did drag at times, and the prose was over-elaborate on occasions.

What a great reading experience this was, I loved the story, the writing and vivid descriptions. Completely different from the film that I remember and the audible version with the narration by Dan Stevens Downton Abbey was an added bonus. At once a Gothic thriller, a passionate romance, and a cautionary tale about the dangers of science. I had a copy of this book sitting on my real life shelf for years and never felt drawn to it as I had seen Frankenstein Movies on Tv and felt it was pointless at this stage reading the book as I knew the story and only when I came across an audible version narrated by Dan Stevens did I feel a pull towards this classic.

I read and listened to this one and was totally suprised by how much I Enjoyed this Novel. What an imagination this eighteen year old girl had in the beginning of the s, the setting and the characters are so brilliantly depicted and you feel like you are part of the story as you follow follow Frankenstein on his travels. I love when a book like this surprises me and while I had to suspend disbelief a little with some elements of the story and the happenings, it was worth it for the entertainment and reward I got from this novel.

View all 20 comments. Starting out with childish and irresponsible experimental joy, he is lost until the sorcerer comes home and uses his superior magic to restore order. Frankenstein, unfortunately, does not have a superior power to rely on when he sets free a creature of his own immature image, and he fails miserably in the second stage of scientific innovation: responsible, reflective and mature behaviour towards the creation.

Frankenstein represents a new kind of human creator, acting alone, and driven solely by ambition to surpass other human beings in inventiveness and power, but without the love and affection that is still expressed in the Pygmalion myth that was popular in the 18th century. Moreau , it tells the story of human hubris and carelessness and its bitter consequences. When did Frankenstein fail as an inventor and human being? When he gave his creature giant proportions? When he failed to educate and nurture it? When he ran away and abandoned it? When he refused to support its need for a companion? Or when he failed to own up to his own part in the erupting violence, and did not act to stop it instead of fainting and hiding in passive, delirious illness?

When he let an innocent girl be executed for a murder he knew to have been committed by his creature? In a way, the creature actually surpassed its creator, for its first steps in the world were filled with optimistic curiosity and love. It eagerly learned the rules of the world, observed the mechanisms of language and schooled itself with admirable perseverance, to the point of being able to ask the question of the meaning of life, reflecting on the different layers of the human condition through the lens of excellent writers such as Plutarch, Goethe and Milton.

Out of control, miserable, lost in eternal ice, the show-down between creator and creation leaves no room for hope, except in the balanced character of the witness Walton, who sets a humane example by sacrificing his scientific ambition and dream of glory for the safety of the sailors that are dependent on him, and whose lives he cannot risk and keep a calm conscience. Absolutely glorious story! Frankenstein, "Oh, Frankenstein! Generous and self-devoted being! What does it avail that I now ask thee to pardon me. When your monster said these lines in the last, I asked myself also why did you behold the accomplishment of your toil on that dreary night of November!

He repented! But your creation did not remorse before he had urged his diabolical vengeance to such an extremity. What a wonderful man you were, Frankenstein! So ambitious, sharp and determined. How wonderfully you created, one day, such an animated creature from lifeless matter. What had been the study and desire of the wisest men since the creation of the world was now within your grasp. You perfectly knew then that the real elixir of life was chimera! You felt exquisite pleasure dwelling on the recollection of your childhood, of your knowledge and invention, of your adventure, of your grief, of your fear and of your remorse. When I was listening to you, I thought of you as the most sagacious researcher of your time.

But when I started listening to the evolutionary saga from the mouth of your own creation, I doubted you're being the best mind of your time. The powers of learning or I would say, more explicitly of deceiving, of your creation, were far ahead of you. When a strong multiplicity of sensation seized your monster and he saw, felt, smelled and heard at the same time, I was also pressed upon by a strong light on my imaginative nerves at that very same moment. When your monster unsuccessfully tried to imitate the pleasant songs of birds, the uncouth and inarticulate sounds which broke from him frightened me as well. From his hovel, where he lived secretly for a long time, watching cottagers, learning human emotions, name of cottagers, the language and then about slothful Asiatics, wars of Romans and stupendous genius of Grecians, I tried to recollect the beginning of my existence as if I too had learned such things in similar fashion.

Your monster made me curious about the Werter's imaginations of despondency and about the high thoughts of Plutarch from whom he learned such traits! Finally, I too felt my flesh tingled with excess of sensitiveness and my pulse beat rapidly, though not as rapidly as yours, every time when your monster came out of his hide to present himself. Though you had benevolent intentions towards humankind, how terrible it turned out to be! It clings to the mind when it has once seized on it like a lichen on the rock. I wished sometimes to shake off all thought and feeling, but I learned that there was but one means to overcome the sensation of pain, and that was death—a state which I feared yet did not understand" Your affectionate reader, I loved the beautiful writing of Shelley in this book.

You may be aware of the story, but I think she deserves the reading of this wonderful piece of fantasy and science fiction work and when you know that she wrote this novel in her early twenties, your admiration for her writing will enhance for sure. It is written in a very unique style and I liked the way, the first few letters started the story and then it was ended in a similar fashion. Multi-layered narration, all perfectly synchronized with one another, makes it a nice reading experience. The natural imagery in the exploration in the North Sea region, Arctic ice and narrator's delightful and full of warmth relations with his family and friends will touch you.

The portrayal of the devil is extraordinarily plotted in two entirely opposite ways. Some time he will frighten you through his corpse like hideous horror and at some places you will be filled with compassion towards this wretch monster. But it was all a dream; no Eve soothed my sorrows nor shared my thoughts; I was alone. I remembered Adam's supplication to his Creator. But where was mine? He had abandoned me, and in the bitterness of my heart I cursed him" So a brilliant piece of work!

View all 30 comments. Oct 13, Olive Fellows abookolive rated it really liked it Shelves: gothic , classics. Well that certainly wasn't a horror book. It was View all 6 comments. Readers also enjoyed. Videos About This Book. More videos Science Fiction. About Mary Wollstonecraft Shelley. Mary Wollstonecraft Shelley. She was the daughter of the political philosopher William Godwin and the writer, philosopher, and feminist Mary Wollstonecraft. Mary Shelley was taken seriously as a writer in her own lifetime, though reviewers often missed the political edge to her novels.

After her death, however, she was chiefly remembered only as the wife of Percy Bysshe Shelley and as the author of Frankenstein. It was not until , when Emily Sunstein published her prizewinning biography Mary Shelley: Romance and Reality , that a full-length scholarly biography analyzing all of Shelley's letters, journals, and works within their historical context was published. The well-meaning attempts of Mary Shelley's son and daughter-in-law to "Victorianise" her memory through the censoring of letters and biographical material contributed to a perception of Mary Shelley as a more conventional, less reformist figure than her works suggest. Her own timid omissions from Percy Shelley's works and her quiet avoidance of public controversy in the later years of her life added to this impression.

The eclipse of Mary Shelley's reputation as a novelist and biographer meant that, until the last thirty years, most of her works remained out of print, obstructing a larger view of her achievement. She was seen as a one-novel author, if that. In recent decades, however, the republication of almost all her writings has stimulated a new recognition of its value. Her voracious reading habits and intensive study, revealed in her journals and letters and reflected in her works, is now better appreciated. Shelley's recognition of herself as an author has also been recognized; after Percy's death, she wrote about her authorial ambitions: "I think that I can maintain myself, and there is something inspiriting in the idea".

Scholars now consider Mary Shelley to be a major Romantic figure, significant for her literary achievement and her political voice as a woman and a liberal. Books by Mary Wollstonecraft Shelley. Articles featuring this book. Jordan Morris is a comedy writer and podcaster whose credits include Midnight, Unikitty! The sci-fi comedy Bubble is his Read more Trivia About Frankenstein: The Quotes from Frankenstein: The Welcome back. Just a moment while we sign you in to your Goodreads account.

Mary Shelley in her The Role Of Sublime In Mary Shelleys Frankenstein. One The Role Of Sublime In Mary Shelleys Frankenstein the party's first tasks on arriving in Italy was to hand Alba over to Byron, who The Role Of Sublime In Mary Shelleys Frankenstein living in Venice. So ambitious, sharp and determined. What a The Role Of Sublime In Mary Shelleys Frankenstein reading experience this was, I loved the story, the The Role Of Sublime In Mary Shelleys Frankenstein and Retinitis Pigmentosa Case Study descriptions. Shelley's recognition The Role Of Sublime In Mary Shelleys Frankenstein herself as an author has also been recognized; after Percy's death, she wrote Pros And Cons Of Walmart her authorial ambitions: "I think that I can maintain myself, and there is something inspiriting in the idea".

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