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Frankenstein; Or, The Modern Prometheus

by Mary Wollstonecraft Shelley

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Description

Written in 1818, this Gothic novel reflects the early 19th-century interest in scientific discovery and the possibilities of human ingenuity. It narrates the story of Victor Frankenstein, a young scientist who assembles a living creature from various body parts through an unorthodox experiment. Upon bringing the creature to life, Victor reacts with horror and abandons it, initiating a sequence of events involving creation, rejection, and revenge. The novel examines themes of responsibility, the limits of scientific pursuit, and the consequences of playing God, set within a context of Gothic horror and moral inquiry. Its narrative is framed by a series of letters and reflections, contributing to the layered structure typical of the period’s literature.

As a pioneering work of science fiction and horror, the novel has influenced numerous genres and cultural works. It stands as a significant contribution to British literature, reflecting contemporary concerns about scientific ethics and the nature of humanity during the Romantic era.

From the opening pages

The event on which this fiction is founded has been supposed, by Dr. Darwin, and some of the physiological writers of Germany, as not of impossible occurrence. I shall not be supposed as according the remotest degree of serious faith to such an imagination; yet, in assuming it as the basis of a work of fancy, I have not considered myself as merely weaving a series of supernatural terrors. The event on which the interest of the story depends is exempt from the disadvantages of a mere tale of spectres or enchantment. It was recommended by the novelty of the situations which it developes; and, however impossible as a physical fact, affords a point of view to the imagination for the delineating of human passions more comprehensive and commanding than any which the ordinary relations of existing events can yield. I have thus endeavoured to preserve the truth of the elementary principles of human nature, while I have not scrupled to innovate upon their combinations. The Iliad , the tragic poetry of Greece,—Shakespeare, in the Tempest and Midsummer Night’s Dream ,—and most especially Milton, in Paradise Lost , conform to this rule; and the most humble novelist, who seeks to confer or receive amusement from his labours, may, without presumption, apply to prose fiction a licence, or rather a rule, from the adoption of which so many exquisite combinations of human feeling have resulted in the highest specimens of poetry. The circumstance on which my story rests was suggested in casual conversation. It was commenced, partly as a source of amusement, and partly as an expedient for exercising any untried resources of mind. Other motives were mingled with these, as the work proceeded. I am by no means indifferent to the manner in which whatever moral tendencies exist in the sentiments or characters it contains shall affect the reader; yet my chief concern in this respect has been limited to the avoiding of the enervating effects of the novels of the present day, and to the exhibitions of the amiableness of domestic affection, and the excellence of universal virtue. The opinions which naturally spring from the character and situation of the hero are by no means to be conceived as existing always in my own conviction; nor is any inference justly to be drawn from the following pages as prejudicing any philosophical doctrine of whatever kind. It is a subject…

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