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The eight lines from "Mutability" which are quoted in Frankenstein occur in Chapter 10 when Victor Frankenstein climbs Glacier Montanvert in the Swiss Alps and encounters the Creature. Frankenstein recites: "We rest. – A dream has power to poison sleep; We rise. – One wandering thought pollutes the day; We feel, conceive or reason, laugh or ...
This is an accepted version of this page This is the latest accepted revision, reviewed on 17 February 2025. 1818 novel by Mary Shelley This article is about the novel by Mary Shelley. For the Monster, see Frankenstein's monster. For other uses, see Frankenstein (disambiguation). Frankenstein; or, The Modern Prometheus Volume I, first edition Author Mary Shelley Language English Genre Gothic ...
Victor Frankenstein is a fictional character who first appeared as the titular main protagonist of Mary Shelley's 1818 novel, Frankenstein; or, The Modern Prometheus.He is a Swiss scientist (born in Naples, Italy) who, after studying chemical processes and the decay of living things, gains an insight into the creation of life and gives life to his own creature (often referred to as ...
Margaret Webling (1 January 1871 – 27 June 1949) was a British playwright, novelist and poet. Her 1927 play version of Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus is notable for naming the creature "Frankenstein" after its creator, and for being the inspiration of the classic 1931 film directed by James Whale.
Born in Italy, Elizabeth Lavenza was adopted by Victor's family.In the first edition (1818), she is the daughter of Victor's aunt and her Italian husband. After her mother's death, Elizabeth's father—intending to remarry—writes to Victor's father and asks if he and his wife would like to adopt the child and spare her being raised by a stepmother (as Mary Shelley had unhappily been).
Presumption; or, the Fate of Frankenstein is an 1823 play in three acts by Richard Brinsley Peake loosely based on the 1818 novel Frankenstein; or, The Modern Prometheus by Mary Shelley. It is the first recorded theatrical adaptation of the novel [ 1 ] [ 2 ] [ 3 ] and had 37 performances during its original run.
Max Duperray explains that the choice of the term "horror" served to distinguish a later school within the Gothic movement, which Frankenstein is partly part of: "[...] whereas the early novels separate good and evil with an insurmountable barrier," he writes, "the later ones usher in the era of moral ambiguity, involving the reader more deeply in the mysteries of the transgressive ...