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A possible interpretation of the name "Victor" is derived from Paradise Lost by John Milton, a great influence on Shelley (a quotation from Paradise Lost is on the opening page of Frankenstein and Shelley writes that the monster reads it in the novel). Milton frequently refers to God as "the victor" in Paradise Lost, and Victor's creation of life in the novel is compared to God's creation of life in Paradise Lost. In addition, Shelley's portrayal of the monster owes much to the character of Satan in Paradise Lost; and, the monster says in the story, after reading the epic poem, that he empathizes with Satan's role.

Parallels between Victor Frankenstein and Mary's husband, Percy Shelley, have also been drawn. Percy Shelley was the first-born son of Member of Parliament Timothy Shelley, a country squire with strong political connections, and grandson of Sir Bysshe Shelley, 1st Baronet of Castle Goring. Similarly, Victor's family is one of the most distinguished of that republic and his ancestors were counsellors and syndics. Percy's sister and Victor's adopted sister were both named Elizabeth. There are many other similarities, from Percy's usage of "Victor" as a pen name for Original Poetry by Victor and Cazire, a collection of poetry he wrote with Elizabeth, to Percy's days at Eton, where he had "experimented with electricity and magnetism as well as with gunpowder and numerous chemical reactions," and the way in which Percy's rooms at Oxford were filled with scientific equipment.

Modern Prometheus

=================

The Modern Prometheus is the novel's subtitle (though modern editions now drop it, only mentioning it in introduction). Prometheus, in versions of Greek mythology, was the Titan who created humans in the image of the gods so that they could have a spirit breathed into them at the behest of Zeus. Prometheus then taught humans to hunt, but after he tricked Zeus into accepting "poor-quality offerings" from humans, Zeus kept fire from humankind. Prometheus took back the fire from Zeus to give to humanity. When Zeus discovered this, he sentenced Prometheus to be eternally punished by fixing him to a rock of Caucasus, where each day an eagle pecked out his liver, only for the liver to regrow the next day because of his immortality as a god.

As a Pythagorean, or believer in An Essay on Abstinence from Animal Food, as a Moral Duty by Joseph Ritson, Mary Shelley saw Prometheus not as a hero but rather as something of a devil, and blamed him for bringing fire to humanity and thereby seducing the human race to the vice of eating meat. Percy wrote several essays on what became known as vegetarianism including A Vindication of Natural Diet.

Byron was particularly attached to the play Prometheus Bound by Aeschylus, and Percy Shelley soon wrote his own Prometheus Unbound (1820). The term "Modern Prometheus" was derived from Immanuel Kant who described Benjamin Franklin as the "Prometheus of modern times" in reference to his experiments with electricity.

Publication

=================

Shelley completed her writing in April/May 1817, and Frankenstein; or, The Modern Prometheus was published on 1 January 1818 by the small London publishing house Lackington, Hughes, Harding, Mavor, & Jones. It was issued anonymously, with a preface written for Mary by Percy Bysshe Shelley and with a dedication to philosopher William Godwin, her father. It was published in an edition of just 500 copies in three volumes, the standard "triple-decker" format for 19th-century first editions.

A French translation (Frankenstein: ou le Prométhée Moderne, translated by Jules Saladin) appeared as early as 1821. The second English edition of Frankenstein was published on 11 August 1823 in two volumes (by G. and W. B. Whittaker) following the success of the stage play Presumption; or, the Fate of Frankenstein by Richard Brinsley Peake. This edition credited Mary Shelley as the book's author on its title page.

On 31 October 1831, the first "popular" edition in one volume appeared, published by Henry Colburn & Richard Bentley. This edition was heavily revised by Mary Shelley, partially to make the story less radical. It included a lengthy new introduction by the author, presenting a somewhat embellished version of the genesis of the story. This edition is the one most widely published and read now, although a few editions follow the 1818 text. Some scholars such as Anne K. Mellor prefer the original version, arguing that it preserves the spirit of Mary Shelley's vision.

Reception

=================

Contemporary critical reviews were varied. Walter Scott, writing in Blackwood's Edinburgh Magazine, praised the novel as an "extraordinary tale, in which the author seems to us to disclose uncommon powers of poetic imagination," although he was less convinced about the way in which the monster gains knowledge about the world and language. La Belle Assemblée described the novel as "very bold fiction" and the Edinburgh Magazine and Literary Miscellany hoped to see "more productions ... from this author". On the other hand, John Wilson Croker, writing anonymously in the Quarterly Review, although conceding that "the author has powers, both of conception and language," described the book as "a tissue of horrible and disgusting absurdity."

The British Critic, a conservative and high-church journal, attacked the novel's flaws as the fault of the author:

The writer of it is, we understand, a female; this is an aggravation of that which is the prevailing fault of the novel; but if our authoress can forget the gentleness of her sex, it is no reason why we should; and we shall therefore dismiss the novel without further comment.

The Literary Panorama and National Register attacked the novel as a "feeble imitation of Mr. Godwin's novels" produced by the "daughter of a celebrated living novelist."

Despite these reviews, Frankenstein achieved an almost immediate popular success. It became widely known, especially through melodramatic theatrical adaptations. The first adaptation, Presumption; or, the Fate of Frankenstein, a play by Richard Brinsley Peake, was performed thirty-seven times at the English Opera House in the West End during the 1823 season. The acclaim it received caused a second printing of Shelley's novel and other theatrical adaptations. Shelley attended a performance on 29 August 1823 and following the success of the play she wrote, "lo & behold! I found myself famous!".

Critical reception of Frankenstein has been largely positive since the mid-20th century. Major critics such as M. A. Goldberg and Harold Bloom have praised the "aesthetic and moral" relevance of the novel, although there have also been critics, such as Germaine Greer, who criticized the novel for technical and narrative defects: for example, she claimed that its three narrators all speak in the same way. In more recent years the novel has become a popular subject for psychoanalytic and feminist criticism: Lawrence Lipking states: "[E]ven the Lacanian subgroup of psychoanalytic criticism, for instance, has produced at least half a dozen discrete readings of the novel". Frankenstein has frequently been recommended on Five Books, with literary scholars, psychologists, novelists, and historians citing it as an influential text. Today, the novel is generally considered to be a landmark work as one of the greatest Romantic and Gothic novels, as well as one of the first science fiction novels.

Brian Aldiss has argued for regarding it as the first true science-fiction story. In contrast to previous stories with fantastical elements resembling those of later science fiction, Aldiss states, the central character "makes a deliberate decision" and "turns to modern experiments in the laboratory" to achieve fantastic results.

Film director Guillermo del Toro describes Frankenstein as "the quintessential teenage book", noting that the feelings that "You don't belong. You were brought to this world by people that don't care for you and you are thrown into a world of pain and suffering, and tears and hunger" are an important part of the story. He adds that "it's an amazing book written by a teenage girl. It's mind-blowing." Professor of philosophy Patricia MacCormack says that the Creature addresses the most fundamental human questions: "It's the idea of asking your maker what your purpose is. Why are we here, what can we do?"

On 5 November 2019, BBC News included Frankenstein in its list of the 100 most influential novels. In 2018, Jersey Post released series of 8 stamps celebrating the 200th anniversary of Frankenstein. In 2021 it was one of six classic science fiction novels by British authors selected by Royal Mail to be featured on a series of UK postage stamps.

Films, plays, television and comic books

=================

The 1931 film, with Boris Karloff playing the monster, is considered the most well-known portrayal of Frankenstein. The Hammer Horror films focused on the character of Dr Frankenstein (played by Peter Cushing in six films beginning with the 1957 film) rather than his monster.

In December 1945, the Gilberton Company issued a comic book version of Frankenstein as No. 26 in its long-running Classics Illustrated series, with illustrations by Robert Hayward Webb and Ann Brewster. The title went through nineteen printings between 1945 and 1971, and has been praised by comics historian Mike Benton as "probably the most faithful adaptation of the original novel -- movies included."

Manga artist and writer Junji Ito, best known for his horror work, published a comics adaptation of Frankenstein, which won an Eisner Award in 2019 for “Best Adaptation from Another Medium.”

Notes

=================

References

=================

Sources

=================

Further reading

=================

-
Holmes, Richard (21 December 2017). "Out of Control". The New York Review of Books. Archived from the original on 14 December 2017. Retrieved 29 December 2024. After two hundred years, how exactly are we to go back to Mary Shelley's 'Frankenstein' itself, as distinct from its proliferating, multimedia myth?, review of:

-
Mary Shelley, Frankenstein, Or, The Modern Prometheus: Annotated for Scientists, Engineers, and Creators of All Kinds, edited by David H. Guston, Ed Finn, and Jason Scott Robert, MIT Press, 277 pp.

-
Mary Shelley, The New Annotated Frankenstein, edited and with a foreword and notes by Leslie S. Klinger, Liveright, 352 pp.), The New York Review of Books, vol. LXIV, no. 20 (21 December 2017), pp. 38, 40–41.

Editions

=================

1818 text

=================

-
Frankenstein: 1818 text (Oxford University Press, 2009). Edited with an introduction and notes by Marilyn Butler.

-
The New Annotated Frankenstein. (Overnight, 2017). Edited and with supplementary texts by Leslie S. Klinger.

-
Frankenstein: The 1818 Text (Penguin Books, 2018). Edited with an introduction by Charlotte Gordon.

-

A possible interpretation of the name "Victor" is derived from Paradise Lost by John Milton, a great influence on Shelley (a quotation from Paradise Lost is on the opening page of Frankenstein and Shelley writes that the monster reads it in the novel). Milton frequently refers to God as "the victor" in Paradise Lost, and Victor's creation of life in the novel is compared to God's creation of life in Paradise Lost. In addition, Shelley's portrayal of the monster owes much to the character of Satan in Paradise Lost; and, the monster says in the story, after reading the epic poem, that he empathizes with Satan's role.

Parallels between Victor Frankenstein and Mary's husband, Percy Shelley, have also been drawn. Percy Shelley was the first-born son of Member of Parliament Timothy Shelley, a country squire with strong political connections, and grandson of Sir Bysshe Shelley, 1st Baronet of Castle Goring. Similarly, Victor's family is one of the most distinguished of that republic and his ancestors were counsellors and syndics. Percy's sister and Victor's adopted sister were both named Elizabeth. There are many other similarities, from Percy's usage of "Victor" as a pen name for Original Poetry by Victor and Cazire, a collection of poetry he wrote with Elizabeth, to Percy's days at Eton, where he had "experimented with electricity and magnetism as well as with gunpowder and numerous chemical reactions," and the way in which Percy's rooms at Oxford were filled with scientific equipment.

Modern Prometheus

=================

The Modern Prometheus is the novel's subtitle (though modern editions now drop it, only mentioning it in introduction). Prometheus, in versions of Greek mythology, was the Titan who created humans in the image of the gods so that they could have a spirit breathed into them at the behest of Zeus. Prometheus then taught humans to hunt, but after he tricked Zeus into accepting "poor-quality offerings" from humans, Zeus kept fire from humankind. Prometheus took back the fire from Zeus to give to humanity. When Zeus discovered this, he sentenced Prometheus to be eternally punished by fixing him to a rock of Caucasus, where each day an eagle pecked out his liver, only for the liver to regrow the next day because of his immortality as a god.

As a Pythagorean, or believer in An Essay on Abstinence from Animal Food, as a Moral Duty by Joseph Ritson, Mary Shelley saw Prometheus not as a hero but rather as something of a devil, and blamed him for bringing fire to humanity and thereby seducing the human race to the vice of eating meat. Percy wrote several essays on what became known as vegetarianism including A Vindication of Natural Diet.

Byron was particularly attached to the play Prometheus Bound by Aeschylus, and Percy Shelley soon wrote his own Prometheus Unbound (1820). The term "Modern Prometheus" was derived from Immanuel Kant who described Benjamin Franklin as the "Prometheus of modern times" in reference to his experiments with electricity.

Publication

=================

Shelley completed her writing in April/May 1817, and Frankenstein; or, The Modern Prometheus was published on 1 January 1818 by the small London publishing house Lackington, Hughes, Harding, Mavor, & Jones. It was issued anonymously, with a preface written for Mary by Percy Bysshe Shelley and with a dedication to philosopher William Godwin, her father. It was published in an edition of just 500 copies in three volumes, the standard "triple-decker" format for 19th-century first editions.

A French translation (Frankenstein: ou le Prométhée Moderne, translated by Jules Saladin) appeared as early as 1821. The second English edition of Frankenstein was published on 11 August 1823 in two volumes (by G. and W. B. Whittaker) following the success of the stage play Presumption; or, the Fate of Frankenstein by Richard Brinsley Peake. This edition credited Mary Shelley as the book's author on its title page.

On 31 October 1831, the first "popular" edition in one volume appeared, published by Henry Colburn & Richard Bentley. This edition was heavily revised by Mary Shelley, partially to make the story less radical. It included a lengthy new introduction by the author, presenting a somewhat embellished version of the genesis of the story. This edition is the one most widely published and read now, although a few editions follow the 1818 text. Some scholars such as Anne K. Mellor prefer the original version, arguing that it preserves the spirit of Mary Shelley's vision.

Reception

=================

Contemporary critical reviews were varied. Walter Scott, writing in Blackwood's Edinburgh Magazine, praised the novel as an "extraordinary tale, in which the author seems to us to disclose uncommon powers of poetic imagination," although he was less convinced about the way in which the monster gains knowledge about the world and language. La Belle Assemblée described the novel as "very bold fiction" and the Edinburgh Magazine and Literary Miscellany hoped to see "more productions ... from this author". On the other hand, John Wilson Croker, writing anonymously in the Quarterly Review, although conceding that "the author has powers, both of conception and language," described the book as "a tissue of horrible and disgusting absurdity."

The British Critic, a conservative and high-church journal, attacked the novel's flaws as the fault of the author:

The writer of it is, we understand, a female; this is an aggravation of that which is the prevailing fault of the novel; but if our authoress can forget the gentleness of her sex, it is no reason why we should; and we shall therefore dismiss the novel without further comment.

The Literary Panorama and National Register attacked the novel as a "feeble imitation of Mr. Godwin's novels" produced by the "daughter of a celebrated living novelist."

Despite these reviews, Frankenstein achieved an almost immediate popular success. It became widely known, especially through melodramatic theatrical adaptations. The first adaptation, Presumption; or, the Fate of Frankenstein, a play by Richard Brinsley Peake, was performed thirty-seven times at the English Opera House in the West End during the 1823 season. The acclaim it received caused a second printing of Shelley's novel and other theatrical adaptations. Shelley attended a performance on 29 August 1823 and following the success of the play she wrote, "lo & behold! I found myself famous!".

Critical reception of Frankenstein has been largely positive since the mid-20th century. Major critics such as M. A. Goldberg and Harold Bloom have praised the "aesthetic and moral" relevance of the novel, although there have also been critics, such as Germaine Greer, who criticized the novel for technical and narrative defects: for example, she claimed that its three narrators all speak in the same way. In more recent years the novel has become a popular subject for psychoanalytic and feminist criticism: Lawrence Lipking states: "[E]ven the Lacanian subgroup of psychoanalytic criticism, for instance, has produced at least half a dozen discrete readings of the novel". Frankenstein has frequently been recommended on Five Books, with literary scholars, psychologists, novelists, and historians citing it as an influential text. Today, the novel is generally considered to be a landmark work as one of the greatest Romantic and Gothic novels, as well as one of the first science fiction novels.

Brian Aldiss has argued for regarding it as the first true science-fiction story. In contrast to previous stories with fantastical elements resembling those of later science fiction, Aldiss states, the central character "makes a deliberate decision" and "turns to modern experiments in the laboratory" to achieve fantastic results.

Film director Guillermo del Toro describes Frankenstein as "the quintessential teenage book", noting that the feelings that "You don't belong. You were brought to this world by people that don't care for you and you are thrown into a world of pain and suffering, and tears and hunger" are an important part of the story. He adds that "it's an amazing book written by a teenage girl. It's mind-blowing." Professor of philosophy Patricia MacCormack says that the Creature addresses the most fundamental human questions: "It's the idea of asking your maker what your purpose is. Why are we here, what can we do?"

On 5 November 2019, BBC News included Frankenstein in its list of the 100 most influential novels. In 2018, Jersey Post released series of 8 stamps celebrating the 200th anniversary of Frankenstein. In 2021 it was one of six classic science fiction novels by British authors selected by Royal Mail to be featured on a series of UK postage stamps.

Films, plays, television and comic books

=================

The 1931 film, with Boris Karloff playing the monster, is considered the most well-known portrayal of Frankenstein. The Hammer Horror films focused on the character of Dr Frankenstein (played by Peter Cushing in six films beginning with the 1957 film) rather than his monster.

In December 1945, the Gilberton Company issued a comic book version of Frankenstein as No. 26 in its long-running Classics Illustrated series, with illustrations by Robert Hayward Webb and Ann Brewster. The title went through nineteen printings between 1945 and 1971, and has been praised by comics historian Mike Benton as "probably the most faithful adaptation of the original novel -- movies included."

Manga artist and writer Junji Ito, best known for his horror work, published a comics adaptation of Frankenstein, which won an Eisner Award in 2019 for “Best Adaptation from Another Medium.”

Notes

=================

References

=================

Sources

=================