Frankenstein_The 1818 Text

by Mary Shelley

  I lived principally in the country as a girl, and passed a considerable time in Scotland. I made occasional visits to the more picturesque parts; but my habitual residence was on the blank and dreary northern shores of the Tay, near Dundee. Blank and dreary on retrospection I call them; they were not so to me then. They were the eyry of freedom, and the pleasant region where unheeded I could commune with the creatures of my fancy. I wrote then—but in a most common-place style. 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. I did not make myself the heroine of my tales. Life appeared to me too common-place an affair as regarded myself. I could not figure to myself that romantic woes or wonderful events would ever be my lot; but I was not confined to my own identity, and I could people the hours with creations far more interesting to me at that age, than my own sensations.

  After this my life became busier, and reality stood in place of fiction. My husband, however, was, from the first, very anxious that I should prove myself worthy of my parentage, and enrol myself on the page of fame. He was for ever inciting me to obtain literary reputation, which even on my own part I cared for then, though since I have become infinitely indifferent to it. At this time he desired that I should write, not so much with the idea that I could produce any thing worthy of notice, but that he might himself judge how far I possessed the promise of better things hereafter. Still I did nothing. Travelling, and the cares of a family, occupied my time; and study, in the way of reading, or improving my ideas in communication with his far more cultivated mind, was all of literary employment that engaged my attention.

  In the summer of 1816, we visited Switzerland, and became the neighbours of Lord Byron. At first we spent our pleasant hours on the lake, or wandering on its shores; and Lord Byron, who was writing the third canto of Childe Harold, was the only one among us who put his thoughts upon paper. These, as he brought them successively to us, clothed in all the light and harmony of poetry, seemed to stamp as divine the glories of heaven and earth, whose influences we partook with him.

  But it proved a wet, ungenial summer, and incessant rain often confined us for days to the house. Some volumes of ghost stories, translated from the German into French, fell into our hands. There was the History of the Inconstant Lover, who, when he thought to clasp the bride to whom he had pledged his vows, found himself in the arms of the pale ghost of her whom he had deserted. There was the tale of the sinful founder of his race, whose miserable doom it was to bestow the kiss of death on all the younger sons of his fated house, just when they reached the age of promise. His gigantic, shadowy form, clothed like the ghost in Hamlet, in complete armour, but with the beaver up, was seen at midnight, by the moon’s fitful beams, to advance slowly along the gloomy avenue. The shape was lost beneath the shadow of the castle walls; but soon a gate swung back, a step was heard, the door of the chamber opened, and he advanced to the couch of the blooming youths, cradled in healthy sleep. Eternal sorrow sat upon his face as he bent down and kissed the forehead of the boys, who from that hour withered like flowers snapt upon the stalk. I have not seen these stories since then; but their incidents are as fresh in my mind as if I had read them yesterday.

  “We will each write a ghost story,” said Lord Byron; and his proposition was acceded to. There were four of us. The noble author began a tale, a fragment of which he printed at the end of his poem of Mazeppa. Shelley, more apt to embody ideas and sentiments in the radiance of brilliant imagery, and in the music of the most melodious verse that adorns our language, than to invent the machinery of a story, commenced one founded on the experiences of his early life. Poor Polidori had some terrible idea about a skull-headed lady, who was so punished for peeping through a key-hole—what to see I forget—something very shocking and wrong of course; but when she was reduced to a worse condition than the renowned Tom of Coventry, he did not know what to do with her, and was obliged to despatch her to the tomb of the Capulets, the only place for which she was fitted. The illustrious poets also, annoyed by the platitude of prose, speedily relinquished their uncongenial task.

  I busied myself to think of a story,—a story to rival those which had excited us to this task. One which would speak to the mysterious fears of our nature, and awaken thrilling horror—one to make the reader dread to look round, to curdle the blood, and quicken the beatings of the heart. If I did not accomplish these things, my ghost story would be unworthy of its name. I thought and pondered—vainly. I felt that blank incapability of invention which is the greatest misery of authorship, when dull Nothing replies to our anxious invocations. Have you thought of a story? I was asked each morning, and each morning I was forced to reply with a mortifying negative.

  Every thing must have a beginning, to speak in Sanchean phrase; and that beginning must be linked to something that went before. The Hindoos give the world an elephant to support it, but they make the elephant stand upon a tortoise. Invention, it must be humbly admitted, does not consist in creating out of void, but out of chaos; the materials must, in the first place, be afforded: it can give form to dark, shapeless substances, but cannot bring into being the substance itself. In all matters of discovery and invention, even of those that appertain to the imagination, we are continually reminded of the story of Columbus and his egg. Invention consists in the capacity of seizing on the capabilities of a subject, and in the power of moulding and fashioning ideas suggested to it.

  Many and long were the conversations between Lord Byron and Shelley, to which I was a devout but nearly silent listener. During one of these, various philosophical doctrines were discussed, and among others the nature of the principle of life, and whether there was any probability of its ever being discovered and communicated. They talked of the experiments of Dr. Darwin, (I speak not of what the Doctor really did, or said that he did, but, as more to my purpose, of what was then spoken of as having been done by him,) who preserved a piece of vermicelli in a glass case, till by some extraordinary means it began to move with voluntary motion. Not thus, after all, would life be given. Perhaps a corpse would be re-animated; galvanism had given token of such things: perhaps the component parts of a creature might be manufactured, brought together, and endued with vital warmth.

  Night waned upon this talk, and even the witching hour had gone by, before we retired to rest. When I placed my head on my pillow, I did not sleep, nor could I be said to think. My imagination, unbidden, possessed and guided me, gifting the successive images that arose in my mind with a vividness far beyond the usual bounds of reverie. I saw—with shut eyes, but acute mental vision,—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. His success would terrify the artist; he would rush away from his odious handy-work, horror-stricken. He would hope that, left to itself, the slight spark of life which he had communicated would fade; that this thing, which had received such imperfect animation, would subside into dead matter; and he might sleep in the belief that the silence of the grave would quench for ever the transient existence of the hideous corpse which he had looked upon as the cradle of life. He sleeps; but he is awakened; he opens his eyes; behold the horrid thing stands at his bedside, opening his curtains, and looking on him with yellow, watery, but speculative eyes.

  I opened mine in terror. The idea so possessed my mind, that a thrill of fear ran through me, and I wished to exchange the ghastly image of my fancy for the realities around. I see them still; the very room, the dark parquet, the closed shutters, with the moonlight struggling through, and the sense I had that the glassy lake and white high Alps were beyond. I could not s
o easily get rid of my hideous phantom; still it haunted me. I must try to think of something else. I recurred to my ghost story,—my tiresome unlucky ghost story! O! if I could only contrive one which would frighten my reader as I myself had been frightened that night!

  Swift as light and as cheering was the idea that broke in upon me. “I have found it! What terrified me will terrify others; and I need only describe the spectre which had haunted my midnight pillow.” On the morrow I announced that I had thought of a story. I began that day with the words, It was on a dreary night of November, making only a transcript of the grim terrors of my waking dream.

  At first I thought but of a few pages—of a short tale; but Shelley urged me to develope the idea at greater length. I certainly did not owe the suggestion of one incident, nor scarcely of one train of feeling, to my husband, and yet but for his incitement, it would never have taken the form in which it was presented to the world. From this declaration I must except the preface. As far as I can recollect, it was entirely written by him.

  And now, once again, I bid my hideous progeny go forth and prosper. I have an affection for it, for it was the offspring of happy days, when death and grief were but words, which found no true echo in my heart. Its several pages speak of many a walk, many a drive, and many a conversation, when I was not alone; and my companion was one who, in this world, I shall never see more. But this is for myself; my readers have nothing to do with these associations.

  I will add but one word as to the alterations I have made. They are principally those of style. I have changed no portion of the story, nor introduced any new ideas or circumstances. I have mended the language where it was so bald as to interfere with the interest of the narrative; and these changes occur almost exclusively in the beginning of the first volume. Throughout they are entirely confined to such parts as are mere adjuncts to the story, leaving the core and substance of it untouched.

  M.W.S.

  London, October 15, 1831

  Genesis 2:18–25

  This biblical account of the creation of human beings is meant to demonstrate the life-giving powers of the biblical God, the powers that Victor Frankenstein was attempting to appropriate. Although there are two versions of the creation of Adam and Eve in Genesis, this version is the one that Mary Shelley had in mind when Frankenstein’s creature begs for a female mate.

  18And the LORD God said, “It is not good that the man should be alone: I will make him a help meet for him.” 19And out of the ground the LORD God formed every beast of the field, and every fowl of the air, and brought them unto Adam to see what he would call them: and whatsoever Adam called every living creature, that was the name thereof. 20And Adam gave names to all cattle, and to the fowl of the air, and to every beast of the field; but for Adam there was not found a help meet for him. 21And the LORD God caused a deep sleep to fall upon Adam, and he slept; and he took one of his ribs, and closed up the flesh in stead thereof. 22And the rib which the LORD God had taken from man, made he a woman, and brought her unto the man. 23And Adam said, “This is now bone of my bones, and flesh of my flesh: she shall be called Woman, because she was taken out of Man.” 24Therefore shall a man leave his father and his mother, and shall cleave unto his wife: and they shall be one flesh. 25And they were both naked, the man and his wife, and were not ashamed.

  George Gordon, Lord Byron

  Prometheus

  The story of Prometheus is a central theme in the works of Lord Byron, Percy Shelley, and Mary Shelley. In his poem Prometheus Unbound, Percy Shelley celebrates Prometheus’s rebellion against Zeus. Byron, too, praises Prometheus, “the Titan,” for resisting Zeus’s commandment with heroic courage. Mary Shelley, on the other hand, seems ambivalent about Prometheus, as the subtitle of Frankenstein is A Modern Prometheus.

  1

  Titan! to whose immortal eyes

  The sufferings of mortality,

  Seen in their sad reality,

  Were not as things that gods despise;

  5

  What was thy pity’s recompense?

  A silent suffering, and intense;

  The rock, the vulture, and the chain,

  All that the proud can feel of pain,

  The agony they do not show,

  10

  The suffocating sense of woe,

  Which speaks but in its loneliness,

  And then is jealous lest the sky

  Should have a listener, nor will sigh

  Until its voice is echoless.

  2

  15

  Titan! to thee the strife was given

  Between the suffering and the will,

  Which torture where they cannot kill;

  And the inexorable Heaven,

  And the deaf tyranny of Fate,

  20

  The ruling principle of Hate,

  Which for its pleasure doth create

  The things it may annihilate,

  Refused thee even the boon to die:

  24

  The wretched gift eternity

  Was thine—and thou hast borne it well.

  All that the Thunderer wrung from thee

  Was but the menace which flung back

  On him the torments of thy rack;

  The fate thou didst so well foresee,

  30

  But would not to appease him tell;

  And in thy Silence was his Sentence,

  And in his Soul a vain repentance,

  And evil dread so ill dissembled,

  That in his hand the lightnings trembled.

  3

  35

  Thy Godlike crime was to be kind,

  To render with thy precepts less

  The sum of human wretchedness,

  And strengthen Man with his own mind;

  But baffled as thou wert from high,

  40

  Still in thy patient energy,

  In the endurance, and repulse

  Of thine impenetrable Spirit,

  Which Earth and Heaven could not convulse,

  A mighty lesson we inherit:

  45

  Thou art a symbol and a sign

  To Mortals of their fate and force;

  Like thee, Man is in part divine,

  A troubled stream from a pure source;

  And Man in portions can foresee

  50

  His own funereal destiny;

  His wretchedness, and his resistance,

  And his sad unallied existence:

  To which his Spirit may oppose

  Itself—an equal to all woes,

  55

  And a firm will, and a deep sense,

  Which even in torture can descry

  Its own concenter’d recompense,

  Triumphant where it dares defy,

  And making Death a Victory.

  Diodati, July 1816.

  Mary Shelley’s Letter I, Hôtel de Sécheron, Geneva, May 17, 1816

  In this letter, eighteen-year-old Mary Godwin (Shelley) describes the perilous journey from Paris to Geneva, where she would begin writing Frankenstein in June. Many of Shelley’s descriptions of “sublime” nature in her novel are drawn from these initial portraits of the stormy alpine landscape.

  The road was serpentine and exceedingly steep, and was overhung on one side by half-distinguished precipices, whilst the other was a gulf, filled by the darkness of the driving clouds. The dashing of the invisible streams announced to us that we had quitted the plains of France, as we slowly ascended, amidst a violent storm of wind and rain, to Champagnolles, where we arrived at twelve o’clock the fourth night after our departure from Paris.

  The next morning we proceeded, still ascend
ing among the ravines and valleys of the mountain. The scenery perpetually grows more wonderful and sublime; pine forests of impenetrable thickness and untrodden, nay, inaccessible expanse spread on every side. Sometimes the dark woods descending, follow the route into the valleys, the distorted trees struggling with knotted roots between the most barren clefts; sometimes the road winds high into the regions of frost, and then the forests become scattered, and the branches of the trees are loaded with snow, and half of the enormous pines themselves buried in the wavy drifts. The spring, as the inhabitants informed us, was unusually late, and indeed the cold was excessive; as we ascended the mountains the same clouds which rained on us in the valleys poured forth large flakes of snow thick and fast. The sun occasionally shone through these showers, and illuminated the magnificent ravines of the mountains, whose gigantic pines were, some laden with snow, some wreathed round by the lines of scattered and lingering vapour; others darting their spires into the sunny sky, brilliantly clear and azure.

  As the evening advanced, and we ascended higher, the snow, which we had beheld whitening the overhanging rocks, now encroached upon our road, and it snowed fast as we entered the village of Les Rousses, where we were threatened by the apparent necessity of passing the night in a bad inn and dirty beds. For, from that place there are two roads to Geneva; one by Nion, in the Swiss territory, where the mountain route is shorter and comparatively easy at that time of the year, when the road is for several leagues covered with snow of an enormous depth; the other road lay through Gex, and was too circuitous and dangerous to be attempted at so late an hour in the day. Our passport, however, was for Gex, and we were told that we could not change its destination; but all these police laws, so severe in themselves, are to be softened by bribery, and this difficulty was at length overcome. We hired four horses, and ten men to support the carriage, and departed from Les Rousses at six in the evening, when the sun had already far descended, and the snow pelting against the windows of our carriage assisted the coming darkness to deprive us of the view of the lake of Geneva and the far-distant Alps.