Frankenstein became very popular, particularly after Richard Brinsley Peake's dramatic adaptation in 1823. Throughout the nineteenth century, references to the novel appear in a great many novels and poems, sometimes in serious allusions, sometimes in facetious references. The following list is far from exhaustive.
Movies of Frankenstein
The century-long success of the stage adaptations of Frankenstein made it a natural choice for filmmakers. The list of movies based, however indirectly, on Mary Shelley's novel stretches into the hundreds. The first film treatment of the novel was a seven-minute silent short from the Edison Film Company, entitled simply Frankenstein (1910). It was followed by a number of silent movies, including Life Without Soul (1915) and Il Mostro di Frankenstein (1920). But the silents were merely preludes to the explosion of cinematic Frankensteins.
Plot Summary of the Novel (Based on the 1818 Text)
Volume I
The English ship's captain Robert Walton, in a series of letters to his sister Margaret Saville in England, describes the initial stages of his nautical journey to the North Pole (I: L1). While sailing north of Archangel in Russia, Walton's ship becomes trapped in arctic ice. From across the frozen sea, the sailors spot a gigantic figure on a dog-sled crossing the ice (I: L4: 3), and later see a haggard, wild-eyed man who is pursuing him, stranded with his dogsled on an ice floe. They take him on board.
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to remember the actual chronology of the novel. Victor is yet only 24 years old.
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to remind us of the circumstances in which this story is being told. As was the case
in those instances Victor signals a new intensification in the circumstances of the
plot, with Henry Clerval reentering the novel.
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to transfer their center of activity to Oxford. Elizabeth must be referring to the
despondent period the summer earlier, following Victor's confrontation by the Creature
beneath Mont Blanc.
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will acknowledge it so three paragraphs later. Still, we have to recognize that we
have come full circle: Walton addresses the Creature with the appellation employed
by Victor Frankenstein immediately after his creation (I:4:2 and note) and again upon
reencountering him on the Mer-de-Glace of Mont Blanc (II:2:5 and note). Two sentences
later he will reiterate Victor's linguistic leap into transcendental terminology,
demonizing the Creature as a fiend. In his response the Creature picks up on the shift
in signification, comparing himself both to Adam and to Satan.
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the Creature that Victor's resort to it is perhaps only to be expected.