Frankenstein

Frankenstein; or, The Modern Prometheus
Volume I, first edition
Author(s)	Mary Shelley
Language	English
Genre(s)	Horror, (comedy) Gothic, Romance, science fiction
Publisher	Lackington, Hughes, Harding, Mavor & Jones
Publication date	1 January 1818
Pages	280

Frankenstein; or, The Modern Prometheus is a novel written by Mary Shelley about a creature produced by an unorthodox scientific experiment. Shelley started writing the story when she was eighteen, and the novel was published when she was twenty-one. The first edition was published anonymously in London in 1818. Shelley's name appears on the second edition, published in France in 1823.

Shelley had travelled the region in which the story takes place, and the topics of galvanism and other similar occult ideas were themes of conversation among her companions, particularly her future husband, Percy. The storyline emerged from a dream. Mary, Percy, Lord Byron, and John Polidori decided to have a competition to see who could write the best horror story. After thinking for weeks about what her possible storyline could be, Shelley dreamt about a scientist who created life and was horrified by what he had made. She then wrote Frankenstein.

Frankenstein is infused with some elements of the Gothic novel and the Romantic movement and is also considered to be one of the earliest examples of science fiction. Brian Aldiss has argued that it should be considered the first true science fiction story, because unlike in previous stories with fantastical elements resembling those of later science fiction, the central character "makes a deliberate decision" and "turns to modern experiments in the laboratory" to achieve fantastic results.^[1] The story is partially based on Giovanni Aldini's electrical experiments on dead and (sometimes) living animals and was also a warning against the expansion of modern humans in the Industrial Revolution, alluded to in its subtitle, The Modern Prometheus. It has had a considerable influence across literature and popular culture and spawned a complete genre of horror stories and films.

Since publication of the novel, the name "Frankenstein" is often used to refer to the monster itself, as is done in the stage adaptation by Peggy Webling. This usage is sometimes considered erroneous, but usage commentators regard the monster sense of "Frankenstein" as well-established and not an error.^[2][3][4] In the novel, the monster is identified via words such as "creature," "monster", "fiend", "wretch", "vile insect", "daemon", and "it". Speaking to Dr. Frankenstein, the monster refers to himself as "the Adam of your labors", and elsewhere as someone who "would have" been "your Adam", but is instead your "fallen angel."

Summary

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (May 2012)

Frankenstein is written in the form of a frame story that starts with Captain Robert Walton writing letters to his sister.

Captain Walton's introductory frame narrative

The novel Frankenstein is written in epistolary form, documenting a correspondence between Captain Robert Walton and his sister, Margaret Walton Saville. Walton is a failed writer who sets out to explore the North Pole and expand his scientific knowledge in hopes of achieving fame. During the voyage the crew spots a dog sled mastered by a gigantic figure. A few hours later, the crew rescues a nearly frozen and emaciated man named Victor Frankenstein. Frankenstein has been in pursuit of the gigantic man observed by Walton's crew. Frankenstein starts to recover from his exertion; he sees in Walton the same over-ambitiousness and recounts a story of his life's miseries to Walton as a warning.

Victor Frankenstein's narrative

Victor begins by telling of his childhood. Born into a wealthy family in Geneva, he is encouraged to seek a greater understanding of the world around him through science. He grows up in a safe environment, surrounded by loving family and friends. When he is around 4 years old, his parents adopt Elizabeth Lavenza, an orphan whose mother has just died (she is Victor's biological cousin in the first edition, but an adopted child with no blood relation in the 1831 edition). Victor has a possessive infatuation with Elizabeth. He has two younger brothers: Ernest and William.

As a young boy, Victor is obsessed with studying outdated theories of science that focus on achieving natural wonders. He plans to attend the University of Ingolstadt in Germany. Weeks before his planned departure, his mother dies of scarlet fever. At university, he excels at chemistry and other sciences, and develops a secret technique to imbue inanimate bodies with life.

The details of the monster's construction are left ambiguous, but Frankenstein finds himself forced to make the creature roughly eight feet tall because of the difficulty in replicating the minute parts of the human body. His creation, which he has hoped would be beautiful, is instead hideous, with dull yellow eyes, and a withered, translucent, yellowish skin that barely conceals the muscular system and blood vessels. After bringing his creation to life, Victor is repulsed by his work: he flees the room, and the monster disappears.

Victor becomes ill from the experience. He is nursed back to health by his childhood friend, Henry Clerval. After a four-month recovery, he determines that he should return home when his brother William is found murdered. Upon arriving in Geneva, he sees the monster near the site of the murder, and becomes certain it is the killer. William's nanny, Justine, is hanged for the murder based on the discovery of the locket in her pocket. Victor, though certain the monster is responsible, doubts anyone would believe him, and does not intervene.

Ravaged by his grief and self-reproach, Victor retreats into the mountains to find peace. The monster approaches him, ignoring his threats and pleading with Victor to hear its tale. Intelligent and articulate, it tells Victor of its encounters with people, and how it had become afraid of them and spent a year living near a cottage, observing the DeLacey family living there and growing fond of them. Through observing the De Lacey family, the monster became educated and self-aware. It also discovered a lost satchel of books and learned to read. Seeing its reflection in a pool, it realized that its physical appearance is hideous compared to the humans it watches. Though it eventually approached the family with hope of becoming their fellow, they were frightened by its appearance and drove it off, and then left the residence permanently. The creature, in a fit of rage, burned the cottage and left.

In its travels some time later, the monster saw a young girl tumble into a stream and rescued her from drowning. A man, seeing it with the child in its arms, pursued it and fired a gun, wounding it. Traveling to Geneva, met a little boy — Victor's brother William - in the woods outside the town of Plainpalais. The monster hoped the boy was too young to fear deformity, but upon its approach, William cried out, threatening the monster with the weight of his family - the Frankensteins. The creature grabbed the boy by the throat to silence him. When it discovered that it had accidentally strangled its victim, it took this as its first act of vengeance against its creator. It removed a locket from the boy's body and placed it in the folds of the dress of a young woman — William's nanny, Justine — who had been sleeping in a barn nearby, assuming she would be accused of the murder.

The monster concludes its story with a demand that Frankenstein create for it a female companion like itself. It argues that as a living thing, it has a right to happiness and that Victor, as its creator, has a duty to obey it. It promises that if Victor grants its request, it and its mate will vanish into the wilderness of South America uninhabited by man, never to reappear.

Fearing for his family, Victor reluctantly agrees and travels to England to do his work. He is accompanied by Clerval, but they separate in Scotland. Through their travels, Victor suspects that the monster is following him. Working on a second being on the Orkney Islands, he is plagued by premonitions of what his work might wreak, particularly as creating a mate for the creature might lead to the breeding of an entire race of monsters that could plague mankind. He destroys the unfinished example after he sees the monster looking through the window. The monster witnesses this and, confronting Victor, vows that to be with Victor upon his upcoming wedding night. The monster murders Clerval and leaves the corpse on an Irish beach, where Victor lands upon leaving the island. Victor is imprisoned for the murder of Clerval, and becomes seriously ill, suffering another mental breakdown in prison. After being acquitted, and with his health renewed, he returns home with his father.

Once home, Victor marries his cousin Elizabeth and prepares for a fight to the death with the monster. Wrongly believing the monster's vowed revenge was for his own life, he asks Elizabeth to retire to her room for the night while he goes looking for the fiend. He searches the house and grounds, but the creature murders the secluded Elizabeth instead. Victor sees the monster at the window pointing at the corpse. Grief-stricken by the deaths of William, Justine, Clerval, and now Elizabeth, Victor's father dies. Victor vows to pursue the monster until one of them annihilates the other. After months of pursuit, the two end up in the Arctic Circle, near the North Pole.

Captain Walton's concluding frame narrative

At the end of Victor's narrative, Captain Walton resumes the telling of the story. A few days after the vanishing of the creature, the ship becomes entombed in ice and Walton's crew insists on returning south once they are freed. In spite of a passionate speech from Frankenstein, encouraging the crew to push further north, Walton realizes that he must relent to his men's demands and agrees to head for home. Frankenstein dies shortly thereafter, not before emploring Captain Walton to carry his mission of vengeance to its completion. "The task of his destruction was mine, but I have failed. When actuated by selfish and vicious motives, I asked you to take up my unfinished work; and I renew this request now, when I am only induced by reason and virtue."

Walton discovers the monster on his ship, mourning over Frankenstein's body. Walton hears the monster's adamant justification for its vengeance as well as expressions of remorse. Frankenstein's death has not brought it peace. Rather, its crimes have increased its misery and alienation; it has found only its own emotional ruin in the destruction of its creator. It vows to exterminate itself on its own funeral pyre so that no others will ever know of its existence. Walton watches as it drifts away on an ice raft that is soon lost in darkness.

Composition

Draft of Frankenstein ("It was on a dreary night of November that I beheld my man completed ...")

How I, then a young girl, came to think of, and to dilate upon, so very hideous an idea?^[5]

During the rainy summer of 1816, the "Year Without a Summer", the world was locked in a long cold volcanic winter caused by the eruption of Mount Tambora in 1815.^[6] Mary Shelley, aged 18, and her lover (and later husband) Percy Bysshe Shelley, visited Lord Byron at the Villa Diodati by Lake Geneva in Switzerland. The weather was consistently too cold and dreary that summer to enjoy the outdoor holiday activities they had planned, so the group retired indoors until dawn.

Among other subjects, the conversation turned to galvanism and the feasibility of returning a corpse or assembled body parts to life, and to the experiments of the 18th-century natural philosopher and poet Erasmus Darwin, who was said to have animated dead matter.^[7] Sitting around a log fire at Byron's villa, the company also amused themselves by reading German ghost stories, prompting Byron to suggest they each write their own supernatural tale. Shortly afterward, in a waking dream, Mary Shelley conceived the idea for Frankenstein:

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.^[8]

She began writing what she assumed would be a short story. With Percy Shelley's encouragement, she expanded this tale into a full-fledged novel.^[9] She later described that summer in Switzerland as the moment "when I first stepped out from childhood into life".^[10] Shelley wrote the first four chapters in the weeks following the suicide of her half-sister Fanny.^[11] Byron managed to write just a fragment based on the vampire legends he heard while travelling the Balkans, and from this John Polidori created The Vampyre (1819), the progenitor of the romantic vampire literary genre. Thus, two legendary horror tales originated from this one circumstance.

The group talked about Enlightenment and Counter-Enlightenment ideas as well. Shelley believed the Enlightenment idea that society could progress and grow if political leaders used their powers responsibly; however, she also believed the Romantic ideal that misused power could destroy society (Bennett 36-42).^[12]

Mary's and Percy Bysshe Shelley's manuscripts for the first three-volume edition in 1818 (written 1816–1817), as well as Mary Shelley's fair copy for her publisher, are now housed in the Bodleian Library in Oxford. The Bodleian acquired the papers in 2004, and they belong now to the Abinger Collection.^[13] On 1 October 2008, the Bodleian published a new edition of Frankenstein which contains comparisons of Mary Shelley's original text with Percy Shelley's additions and interventions alongside. The new edition is edited by Charles E. Robinson: The Original Frankenstein (ISBN 978-1851243969).^[14]

In September 2011 the astronomer Donald Olson, inspecting data about the motion of the moon and stars, concluded that the original conversation, and the waking dream, took place on the night of 16 June 1816.^[15]

Publication

Mary Shelley by Richard Rothwell (1840–41)

Mary Shelley completed her writing in May 1817, and Frankenstein; or, The Modern Prometheus was first published on 1 January 1818 by the small London publishing house of Lackington, Hughes, Harding, Mavor, & Jones.^[16][17] 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. The novel had been previously rejected by Percy Bysshe Shelley's publisher, Charles Ollier, and by Byron's publisher, John Murray.^{[citation needed]}

The second edition of Frankenstein was published on 11 August 1822 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;^[18] this edition credited Mary Shelley as the author.

On 31 October 1831, the first "popular" edition in one volume appeared, published by Henry Colburn & Richard Bentley.^[19] This edition was heavily revised by Mary Shelley, partially because of pressure to make the story more conservative, and included a new, longer preface by her, presenting a somewhat embellished version of the genesis of the story. This edition tends to be the one most widely read now, although editions containing the original 1818 text are still published.^[20] Many scholars prefer the 1818 text, arguing that it preserves the spirit of Shelley's original publication (see Anne K. Mellor's "Choosing a Text of Frankenstein to Teach" in the W.W. Norton Critical edition).

Name origins

The monster

An English editorial cartoonist conceived the Irish as akin to Frankenstein's monster. Illustration from an 1843 issue of Punch^[21]

Part of Frankenstein's rejection of his creation is the fact that he does not give it a name, which gives it a lack of identity. Instead it is referred to by words such as "monster", "creature", "demon", "devil", "fiend", "wretch" and "it". When Frankenstein converses with the monster in Chapter 10, he addresses it as "vile insect", "abhorred monster", "fiend", "wretched devil" and "abhorred devil".

During a telling of Frankenstein, Shelley referred to the creature as "Adam".^[22] Shelley was referring to the first man in the Garden of Eden, as in her epigraph:

Did I request thee, Maker, from my clay

To mould Me man? Did I solicit thee

From darkness to promote me?

John Milton, Paradise Lost (X.743–5)

The creature has often been mistakenly called "Frankenstein". In 1908 one author said "It is strange to note how well-nigh universally the term "Frankenstein" is misused, even by intelligent people, as describing some hideous monster...".^[23] Edith Wharton's The Reef (1916) describes an unruly child as an "infant Frankenstein."^[24] David Lindsay's "The Bridal Ornament", published in The Rover, 12 June 1844, mentioned "the maker of poor Frankenstein." After the release of James Whale's popular 1931 film Frankenstein, the public at large began speaking of the monster itself as "Frankenstein". A reference to this occurs in Bride of Frankenstein (1935) and in several subsequent films in the series, as well as in film titles such as Abbott and Costello Meet Frankenstein.

Victor Frankenstein's surname

Mary Shelley maintained that she derived the name "Frankenstein" from a dream-vision. Despite her public claims of originality, the significance of the name has been a source of speculation. Literally, in German, the name Frankenstein means "stone of the Franks, Franks' stone." The name is associated with various places in Germany, such as Castle Frankenstein (Burg Frankenstein) in Mühltal, Hesse, or Castle Frankenstein in Frankenstein, Palatinate. There is also a castle called Frankenstein in Bad Salzungen, Thuringia. Furthermore, there is a municipality called Frankenstein in Saxony, and before 1946, Ząbkowice Śląskie, a city in Silesia, Poland, was known as Frankenstein in Schlesien.

More recently, Radu Florescu, in his book In Search of Frankenstein, argued that Mary and Percy Shelley visited Castle Frankenstein on their way to Switzerland, near Darmstadt along the Rhine, where a notorious alchemist named Konrad Dippel had experimented with human bodies, but that Mary suppressed mentioning this visit, to maintain her public claim of originality. A recent literary essay^[25] by A.J. Day supports Florescu's position that Mary Shelley knew of, and visited Castle Frankenstein^[26] before writing her debut novel. Day includes details of an alleged description of the Frankenstein castle that exists in Mary Shelley's 'lost' journals. However, this theory is not without critics; Frankenstein expert Leonard Wolf calls it an "unconvincing...conspiracy theory."^[27] According to Jörg Heléne, the 'lost journals' as well as Florescu's claims could not be verified.^[28]

Victor Frankenstein's given name

A possible interpretation of the name Victor derives 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 even allows the monster himself to read it).^[29][30] Milton frequently refers to God as "the Victor" in Paradise Lost, and Shelley sees Victor as playing God by creating life. In addition to this, Shelley's portrayal of the monster owes much to the character of Satan in Paradise Lost; indeed, the monster says, after reading the epic poem, that he empathises with Satan's role in the story.

There are many similarities between Victor and Percy Shelley, Mary's husband. Victor was a pen name of Percy Shelley's, as in the collection of poetry he wrote with his sister Elizabeth, Original Poetry by Victor and Cazire.^[31] There is speculation that one of Mary Shelley's models for Victor Frankenstein was Percy, who at Eton had "experimented with electricity and magnetism as well as with gunpowder and numerous chemical reactions", and whose rooms at Oxford were filled with scientific equipment.^[32] Percy Shelley was the first-born son of a wealthy country squire with strong political connections and a descendant of Sir Bysshe Shelley, 1st Baronet of Castle Goring, and Richard Fitzalan, 10th Earl of Arundel.^[33] Victor's family is one of the most distinguished of that republic and his ancestors were counsellors and syndics. Percy had a sister named Elizabeth. Victor had an adopted sister, named Elizabeth. On 22 February 1815, Mary Shelley delivered a two-month premature baby and the baby died two weeks later. Percy did not care about the condition of this premature infant and left with Claire, Mary's stepsister, for a lurid affair.^[34] When Victor saw the creature come to life he fled the apartment, though the newborn creature approached him, as a child would a parent. The question of Victor's responsibility to the creature is one of the main themes of the book.

Modern Prometheus

The Modern Prometheus is the novel's subtitle (though some modern publishings of the work now drop the subtitle, mentioning it only in an introduction). Prometheus, in later versions of Greek mythology, was the Titan who created mankind. A task given to him by Zeus, he was to create a being with clay and water in the image of the gods that could have a spirit breathed into it.^[35] Prometheus taught man to hunt, read, and heal their sick, but after he tricked Zeus into accepting poor-quality offerings from humans, Zeus kept fire from mankind. Prometheus being the creator, took back the fire from Zeus to give to man. When Zeus discovered this, he sentenced Prometheus to be eternally punished by fixing him to a rock of Caucasus, where each day an eagle would peck out his liver, only for the liver to regrow the next day because of his immortality as a god. He was intended to suffer alone for all of eternity, but eventually Heracles (Hercules) released him.

Prometheus was also a myth told in Latin but was a very different story. In this version Prometheus makes man from clay and water, again a very relevant theme to Frankenstein, as Victor rebels against the laws of nature (how life is naturally made) and as a result is punished by his creation.

In 1910, Edison Studios released the first motion-picture adaptation of Shelley's story.

The Titan in the Greek mythology of Prometheus parallels Victor Frankenstein. Victor's work by creating man by new means reflects the same innovative work of the Titan in creating humans.

Some have claimed that for Mary Shelley, Prometheus was not a hero but rather something of a devil, whom she blamed for bringing fire to man and thereby seducing the human race to the vice of eating meat (fire brought cooking which brought hunting and killing).^[36]

Byron was particularly attached to the play Prometheus Bound by Aeschylus, and Percy Shelley would soon write his own Prometheus Unbound (1820). The term "Modern Prometheus" was actually coined by Immanuel Kant, referring to Benjamin Franklin and his then recent experiments with electricity.^[37]

Shelley's sources

Shelley incorporated a number of different sources into her work, one of which was the Promethean myth from Ovid. The influence of John Milton's Paradise Lost, and Samuel Taylor Coleridge's The Rime of the Ancient Mariner, are also clearly evident within the novel. Also, both Shelleys had read William Thomas Beckford's Gothic novel Vathek.^{[citation needed]} Frankenstein also contains multiple references to her mother, Mary Wollstonecraft, and her major work A Vindication of the Rights of Woman which discusses the lack of equal education for males and females. The inclusion of her mother's ideas in her work is also related to the theme of creation and motherhood in the novel. Mary is likely to have acquired some ideas for Frankenstein's character from Humphry Davy's book Elements of Chemical Philosophy, in which he had written that "science has ... bestowed upon man powers which may be called creative; which have enabled him to change and modify the beings around him ...". References to the French Revolution run through the novel; a possible source may lie in François-Félix Nogaret's Le Miroir des événemens actuels, ou la Belle au plus offrant (1790): a political parable about scientific progress featuring an inventor named Frankénsteïn who creates a life-sized automaton.^[38]

Reception

Illustration by Theodor von Holst from the frontispiece of the 1831 edition^[39]

Initial critical reception of the book mostly was unfavourable, compounded by confused speculation as to the identity of the author. Sir Walter Scott wrote that "upon the whole, the work impresses us with a high idea of the author's original genius and happy power of expression", but most reviewers thought it "a tissue of horrible and disgusting absurdity" (Quarterly Review).

Mary Shelly had contact with some of the most influential minds of her time. Shelly's father was very progressive and encouraged his daughter to participate in the conversations that took place in his home with various scientific minds, many of whom were actively engaged in the study of anatomy. She was familiar with the ideas of using dead bodies for study, the newer practice of using electricity to animate the dead, and the concerns of religion and the general public in regard to the morality of tampering with God's work. Today there are actual scientific breakthroughs inspired by Frankenstein-like devices that amplify the electric impulses from one's brain and reanimate paralyzed limbs of stroke victims and paraplegics. So, in the end, the ideas Shelly portrays are very feasible and not absurd at all.

Despite the reviews, Frankenstein achieved an almost immediate popular success. It became widely known especially through melodramatic theatrical adaptations — Mary Shelley saw a production of Presumption; or The Fate of Frankenstein, a play by Richard Brinsley Peake, in 1823. A French translation appeared as early as 1821 (Frankenstein: ou le Prométhée Moderne, translated by Jules Saladin).

Frankenstein has been both well received and disregarded since its anonymous publication in 1818. Critical reviews of that time demonstrate these two views. The Belle Assemblee described the novel as "very bold fiction" (139). The Quarterly Review stated "that the author has the power of both conception and language" (185). Sir Walter Scott, writing in Blackwood's Edinburgh Magazine congratulated "the author's original genius and happy power of expression" (620), although he is less convinced about the way in which the monster gains knowledge about the world and language.^[40] The Edinburgh Magazine and Literary Miscellany hoped to see "more productions from this author" (253).

In two other reviews where the author is known as the daughter of William Godwin, the criticism of the novel makes reference to the feminine nature of Mary Shelley. The British Critic attacks the novel's flaws as the fault of the author: "The writer of it is, we understand, a female; this is an aggravation of that which is the prevailing fault of the novel; but if our authoress can forget the gentleness of her sex, it is no reason why we should; and we shall therefore dismiss the novel without further comment" (438). The Literary Panorama and National Register attacks the novel as a "feeble imitation of Mr. Godwin's novels" produced by the "daughter of a celebrated living novelist" (414).

Frankenstein discussed controversial topics and touched on religious ideas. Victor Frankenstein plays God when he creates a new being. Frankenstein deals with Christian and metaphysical themes. The importance of Paradise Lost and the creature's belief that it is "a true history" brings a religious tone to the novel.^[41]

Despite these initial dismissals, critical reception has been largely positive since the mid-20th century.^[42] Major critics such as M. A. Goldberg and Harold Bloom have praised the "aesthetic and moral" relevance of the novel^[43] and in more recent years the novel has become a popular subject for psychoanalytic and feminist criticism. The novel today is generally considered to be a landmark work of romantic and gothic literature, as well as science fiction.^[44]

Derivative works

There are numerous novels retelling or continuing the story of Frankenstein and his monster.

Films, plays and television

A promotional photo of Boris Karloff as Frankenstein's monster

• 1826: Henry M. Milner's adaptation, The Man and The Monster; or The Fate of Frankenstein opened on 3 July at the Royal Coburg Theatre, London.^[45]
• 1910: Edison Studios produced the first Frankenstein film, directed by J. Searle Dawley.
• 1915: Life Without Soul, the second adaption of Mary Shelley's novel, was released. No known copy of the film has survived, but un-reliable sources claim that the film has been in an anonymous private collection since at least 2004.
• 1931: Frankenstein became a Universal film, directed by James Whale, starring Colin Clive, Mae Clarke, John Boles and Boris Karloff as the monster.
• 1935: James Whale directed the sequel Bride of Frankenstein, starring Boris Karloff as the monster once more. This incorporated the novel's plot motif of Doctor Frankenstein creating a bride for the monster omitted from Whale's earlier film. There were two more sequels, prior to the Universal "monster rally" films combining multiple monsters from various movie series or film franchises.
• 1942-1948: Universal did "monster rally" films featuring Frankenstein's Monster, Dracula and the Wolf-Man. Included would be Frankenstein Meets the Wolf Man, House of Frankenstein, House of Dracula and Abbott and Costello Meet Frankenstein.
• 1957-1974: Hammer Films in England did a string of Frankenstein films starring Peter Cushing, including The Curse of Frankenstein, The Revenge of Frankenstein and Frankenstein Must Be Destroyed. Co-starring in these films were Christopher Lee, Hazel Court, Veronica Carlson and Simon Ward. Another Hammer film, The Horror of Frankenstein, starred Ralph Bates as the main character, Victor Frankenstein.
• 1965: Toho Studios created the film Frankenstein Conquers the World or Frankenstein vs. Baragon, followed by somewhat of a sequel War of the Gargantuas. This was Toho's ending of the Frankenstein franchise.
• 1973: The TV film Frankenstein: The True Story appeared on American TV. The English made movie starred Leonard Whiting, Michael Sarrazin, James Mason, and Jane Seymour.
• 1981: A Broadway adaptation by Victor Gialanella played for one performance (after 29 previews) and was considered the most expensive flop ever produced to that date.^[46]
• 1992: Frankenstein became a Turner Network Television film directed by David Wickes, starring Patrick Bergin and Randy Quaid. John Mills made a final screen appearance.
• 1994: Mary Shelley's Frankenstein appeared in theaters, directed by and starring Kenneth Branagh, with Robert De Niro and Helena Bonham Carter.
• 2009: Splice (film), is a Frankenstein adaptation by Vincenzo Natali and starring Adrien Brody and Sarah Polley.
• 2011: The National Theatre, London, presents a stage version of Frankenstein, running until May 2, 2011. The play was written by Nick Dear and directed by Danny Boyle. Jonny Lee Miller and Benedict Cumberbatch alternate the roles of Frankenstein and the Creature. The National Theatre broadcasted live performances of the play worldwide (at 13:00 and 19:30) on March 17.

Free adaptions

• 1967: I'm Sorry the Bridge Is Out, You'll Have to Spend the Night and its sequel, Frankenstein Unbound (Another Monster Musical), are a pair of musical comedies written by Bobby Pickett and Sheldon Allman. The casts of both feature several classic horror characters including Dr. Frankenstein and his monster.
• 1973: The Rocky Horror Show, is a British horror comedy stage musical written by Richard O'Brian in which Dr. Frank N. Furter has created a creature (Rocky), to satisfy his (pro)creative drives. Elements are similar to I'm Sorry the Bridge Is Out, You'll Have to Spend the Night.
• 1973: Frankenstein: The True Story has the monster be originally very handsome but become progressively uglier as the story progresses. It incorporates many elements from the Hammer horror series.
• 1973: Andy Warhol's Frankenstein. usually, the doctor is a man whose dedication to science takes him too far, but here his interest is to rule the world by creating a new species that will obey him and do his bidding.
• 1974: Young Frankenstein. Directed by Mel Brooks, this sequel-spoof is frequently listed as one of the best comedies ever made. It reuses many props from James Whale's 1931 Frankenstein and is shot in black-and-white with 1930s-style credits.
• 1975: The Rocky Horror Picture Show is the 1975 film adaptation of the British rock musical stageplay, The Rocky Horror Show (1973), written by Richard O'Brien.
• 1985: The Bride. Specifically, a remake of 1935's The Bride of Frankenstein which incorporated the novel's bride-motif omitted from the 1931 film.
• 1990: Frankenstein Unbound. Combines a time-travel story with the story of Shelley's novel. Scientist Joe Buchanan accidentally creates a time-rift which takes him back to the events of the novel. Filmed as a low-budget independent film in 1990, based on a novel published in 1973 by Brian Aldiss. This novel bears no relation to the 1967 stage musical with the same name listed above.
• 1991: Frankenstein: The College Years, directed by Tom Shadyac, is another sequel-spoof in which Frankenstein's monster is revived by college students.
• 1995: Monster Mash is a film adaptation of I'm Sorry the Bridge Is Out, You'll Have to Spend the Night starring Bobby Pickett as Dr. Frankenstein. The film also features Candace Cameron Bure, Anthony Crivello and Mink Stole.
• 2011: Frankenstein: Day of the Beast is an independent horror film based loosely on the original book.
• 2009: "The Diary of Anne Frankenstein. Film Short from Chillerrama.
• 2012: "Frankenweenie" Tim Burton's film re adaptation of one of his first movies.

See also

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	Books portal

• Frankenstein argument
• Frankenstein complex
• Frankenstein's monster
• Frankenstein in popular culture
• Homunculus
• Golem
• List of dreams
• Johann Conrad Dippel
• John Lauritsen

Notes

References

• Adams, Carol J. "Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory." Tenth Anniversary Edition. New York: The Continuum International Publishing Group, 2006.
• Aldiss, Brian W. "On the Origin of Species: Mary Shelley". Speculations on Speculation: Theories of Science Fiction. Eds. James Gunn and Matthew Candelaria. Lanham, Maryland: Scarecrow, 2005.
• Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford University Press, 1987.
• Bann, Stephen, ed. "Frankenstein": Creation and Monstrosity. London: Reaktion, 1994.
• Behrendt, Stephen C., ed. Approaches to Teaching Shelley's "Frankenstein". New York: MLA, 1990.
• Bennett, Betty T. and Stuart Curran, eds. Mary Shelley in Her Times. Baltimore: Johns Hopkins University Press, 2000.
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• Bohls, Elizabeth A. "Standards of Taste, Discourses of 'Race', and the Aesthetic Education of a Monster: Critique of Empire in Frankenstein". Eighteenth-Century Life 18.3 (1994): 23–36.
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External links

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Wikisource has original text related to this article: Frankenstein

• Frankenstein at Project Gutenberg
• Mary Wollstonecraft Shelley Chronology & Resource Site
• "On Frankenstein", review by Percy Bysshe Shelley.
• "13 Ways of Looking at Frankenstein", slideshow by Life magazine
• "My Hideous Progeny: Mary Shelley's Frankenstein"

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