The Edinburgh Magazine and Literary Miscellany: A New Series of "The Scots Magazine"
The Edinburgh Magazine and Literary Miscellany; A New Series of "The Scots Magazine" 2 (March 1818): 249-53.
Here is one of the productions of the modern school in its highest style of caricature and exaggeration. It is formed on the Godwinian manner, and has all the faults, but many likewise of the beauties of that model. In dark and gloomy views of nature and of man, bordering too closely on impiety,—in the most outrageous improbability,—in sacrificing every thing to effect,—it even goes beyond its great prototype; but in return, it possesses a similar power of fascination, something of the same mastery in harsh and savage delineations of passion, relieved in like manner by the gentler features of domestic and simple feelings. There never was a wilder story imagined, yet, like most of the fictions of this age, it has an air of reality attached to it, by being connected with the favourite projects and passions of the times. The real events of the world have, in our day, too, been of so wondrous and gigantic a kind,—the shiftings of the scenes in our stupendous drama have been so rapid and various, that Shakespeare himself, in his wildest flights, has been completely distanced by the eccentricities of actual existence. Even he would scarcely have dared to have raised, in one act, a private adventurer to the greatest of European thrones,—to have conducted him, in the next, victorious over the necks of emperors and kings, and then, in a third, to have shewn him an exile, in a remote speck of an island, some thousands of miles from the scene of his triumphs; and the chariot which bore him along covered with glory, quietly exhibited to a gaping mechanical rabble under the roof of one of the beautiful buildings on the North Bridge of Edinburgh,—(which buildings we heartily pray may be brought as low as the mighty potentate whose Eagles are now to be seen looking out of their windows, like the fox from the ruins of Balclutha.) Our appetite, we say, for every sort of wonder and vehement interest, has in this way become so desperately inflamed, that especially as the world around us has again settled into its old dull state of happiness and legitimacy, we can be satisfied with nothing in fiction that is not highly coloured and exaggerated; we even like a story the better that it is disjointed and irregular, and our greatest inventors, accordingly, have been obliged to accommodate themselves to the taste of the age, more, we believe, than their own judgment can, at all times, have approved of. The very extravagance of the present production will now, therefore, be, perhaps, in its favour, since the events which have actually passed before our eyes have made the atmosphere of miracles that in which we most readily breathe.
The story opens with a voyage of discovery to the North Pole. A young Englishman, whose mind has long been inflamed with this project, sets sail from Archangel, soon gets inclosed, as usual, among ice mountains, and is beginning to despair of success, when all his interest and thoughts are diverted suddenly into another channel, in consequence of a very singular adventure. One day a gigantic figure was seen moving northwards on a sledge, drawn by dogs, and a short time afterwards a poor emaciated wretch was picked up from a sledge that drifted close to the vessel. The Englishman soon formed a violent friendship for this stranger, and discovers him to be a person of the greatest virtues, talents, and acquirements, which are only rendered the more admirable and interesting, from the deep cloud of melancholy which frequently overshadowed them. After a time, he gets so far into his confidence, as to obtain from him the story of his life and misfortunes. His name was Frankenstein, son of a Syndic of Geneva, and of an amiable mother, who very properly dies at the beginning of the book, to leave her son and a young female cousin, who resided in the family, so disconsolate, that they could find no comfort except by falling in love. Frankenstein had been left much to his own disposal in the conduct of his studies, and, at a very early period, he had become quite entêté with some of the writings of the alchemists, on which he accidentally lighted; and we were at first in expectation that, like St Leon, he was to become possessed of the philosopher's stone, or of the elixir vitae. He is destined, however, to obtain a still more extraordinary power, but not from the alchemists, of the futility of whose speculations he soon became convinced, but whose wild conceptions continued to give to his mind a strong and peculiar bias.
At the university, stimulated by the encouragement of some distinguished philosophers, he applied himself, with the utmost perseverance and ability, to every department of natural science, and soon became the general object of envy and admiration. His researches led him to investigate the principle of life, which he did in the old and approved manner by dissecting living animals, groping into all the repositories of the dead, and making himself acquainted with life and death in all their forms. The result was a most wonderful discovery,—quite simple, he says, when it was made, but yet one which he very wisely does not communicate to his English acquaintance, and which, of course, must remain a secret to world,—no less than the discovery of the means of communicating life to an organized form. With this our young philosopher sets himself to make a man, and that he might make no blunder from taking too small a scale, unfortunately, as it turns out, his man is a giant. In a garret of his apartments, to which none but himself was ever admitted, he employs four months on this wonderful production. Many of the ingredients seem to have been of a very disgusting description, since he passed whole nights in sepulchres raking them out; he thought, however, that he had succeeded in making a giant, as gainly in appearance as least as O'Brien, or the Yorkshire Boy, and every thing was now ready for the last touch of the master, the infusion of life into the inanimate mass. In breathless expectation, in the dead of night, he performed this last momentous act of creation; and the creature opened upon him two immense ghastly yellow eyes, which struck him with instant horror. He immediately hated himself and his work, and flew, in a state of feverish agony, to his room below; but, finding himself followed thither by the monster, he rushed out into the streets, where he walked about in fearful agitation, till the morning dawned, and they began to be frequented by their inhabitants. Passing along, he saw step from a coach an intimate friend of his from Geneva. For the moment he forgot every thing that had happened, was delighted to find that his friend had come to pursue his studies along with him, and was conducting him to his apartments, when on a sudden he recollected the dreadful inmate who would probably be found in them. He ran up and examined them, and, on finding that the monster had disappeared, his joy became quite foolish and outrageous; he danced about like a madman, and his friend was not surprised when immediately after he was seized by a delirious fever, which confined him for some weeks, alleviated, however, by all the attentions which friendship could bestow.
Scarcely had he recovered, when a sad piece of intelligence arrives from home. His father writes him that his little brother had strayed from them in an evening walk, and was at last found dead, and apparently strangled. He flies home to comfort his family, but it is night ere he reaches Geneva, and the gates being shut, he remains in the neighbourhood, and walks out in the dark towards the hills. The monster on a sudden stalks past him, and moving with inconceivable rapidity, is seen by him perched on one of the highest cliffs. The thought instantly strikes him, that this fiend, the creation of his own hand, must have been the murderer of his brother, and he feels all the bitterness of despair. Very ill able to comfort others, he next morning went to his father's house, and learns, as an additional misery, that a young servant girl, who had been beloved as a friend in the family, was taken up on suspicion of the murder, and was to be tried for her life. A picture, which the child had worn on the fateful night, was found in her pocket. Though, in his own mind, he could not doubt of the real author of the murder, and his beloved Elizabeth was equally convinced that it could not be her favourite Justine, still circumstances were so strong against her, that the poor girl was condemned and executed. No wonder that Frankenstein now fell into a deep melancholy; to relieve him from which, his father took him and Elizabeth on a tour to the valley of Chamounix. This part of the book is very beautifully written; the description of the mountain scenery, and of its effect on Frankenstein's mind, is finely given. One rainy day they did not proceed on their journey, but Frankenstein, in a state of more than common depression, left them early in the inn, for the purpose of scaling the summit of Montarvet.
"It was nearly noon (he says) when I arrived at the top of the ascent. For some time I sat upon the rock that overlooks the sea of ice. A mist covered both that and the surrounding mountains. Presently a breeze dissipated the cloud, and I descended upon the glacier. The surface is very uneven, rising like the waves of a troubled sea, descending low, and interspersed by rifts that sink deep. The field of ice is almost a league in width, but I spent nearly two hours in crossing it. The opposite mountain is a bare perpendicular rock. From the side where I now stood Montarvet was exactly opposite, at the distance of a league; and above it rose Mont Blanc, in awful majesty. I remained in a recess of the rock, gazing on this wonderful and stupendous scene. The sea, or rather the vast river of ice, wound among its dependent mountains, whose aerial summits hung over its recesses. Their icy and glittering peaks shone in the sunlight over the clouds. My heart, which was before sorrowful, now swelled with something like joy; I exclaimed—'Wandering spirits, if indeed ye wander, and do not rest in your narrow beds, allow me this faint happiness, or take me, as your companion, away from the joys of life.' As I said this, I suddenly beheld the figure of a man, at some distance, advancing towards me with superhuman speed. He bounded over the crevices in the ice, among which I had walked with caution; his stature, also, as he approached, seemed to exceed that of man. I was troubled: a mist came over my eyes, and I felt a faintness seize me; but I was quickly restored by the cold gale of the mountains. I perceived, as the shape came nearer (sight tremendous and abhorred,) that it was the wretch whom I had created. I trembled with rage and horror, resolving to wait his approach, and then close with him in mortal combat. He approached; his countenance bespoke bitter anguish, combined with disdain and malignity, while its unearthly ugliness rendered it almost too horrible for human eyes."
Frankenstein at first addresses him in words of violent rage,—the monster, however, endeavours to soften him.
"Will no entreaties cause thee to turn a favourable eye upon thy creature, who implores thy goodness and compassion? Believe me, Frankenstein: I was benevolent; my soul glowed with love and humanity: but am I not alone, miserably alone? You, my creator, abhor me; what hope can I gather from your fellow-creatures, who owe me nothing? they spurn and hate me. The desart mountains and dreary glaciers are my refuge. I have wandered here many days; the caves of ice, which I only do not fear, are a dwelling to me, and the only one which man does not grudge. These bleak skies I hail, for they are kinder to me than your fellow-beings. If the multitude of mankind knew of my existence, they would do as you do, and arm themselves for my destruction. Shall I not then hate them who abhor me?—Hear my tale; it is long and strange, and the temperature of this place is not fitting to your fine sensations; come to the hut upon the mountain. The sun is yet high in the heavens; before it descends to hide itself behind yon snowy precipices, and illuminate another world, you will have heard my story, and can decide. On you it rests whether I quit for ever the neighbourhood of man, and lead a hapless life, or become the scourge of your fellow-creatures, and the author of your own speedy ruin."
The monster now begins his story, and a very amiable personage he makes himself to be. The story is well fancied and told. Immediately on his creation he wandered out into the forest of Ingoldstadt, where he remained for some days, till his different senses learnt to perform their appropriate functions, and he discovered the use of fire and various other rudiments of knowledge; and thus accomplished, he ventured forth into the great world. But in the first village that he reached he was hooted and stoned, and was obliged to take shelter in a hovel at the back of a cottage. Through a crevice in the wall, he soon became intimate with all the operations in the cottage, the inhabitants of which were an old blind man, his son and daughter. After the reception he had met with in the village, he kept himself very snug in his hole through the day, but being really a good—natured monster, and finding the young man was much overwrought in cutting fuel for the family, what does he, but betake him to the wood in the night time, and collect quantities of fuel, which he piles up beside the door? The good people think themselves the favourites of some kind spirit or brownie. In the mean time, he learns how to apply their language, which he found he could imitate tolerably well. He gradually, too, becomes acquainted with more of their circumstances and feelings; and there was so much affection between the venerable blind man (who moreover played beautifully on a musical instrument) and his children, and they were so loving to each other,—and they were so interesting withal from their poverty, that the worthy monster took a vehement passion for them, and had the greatest inclination to make himself agreeable to them. By close study, and the occurrence of favourable opportunities, he also acquires a knowledge of written language; and one day on his rambles, lighting on a portmanteau, which contained the Sorrows of Werter, a volume of Plutarch, and Milton's Paradise Lost,—he becomes quite an adept in German sentiment, ancient heroism, and Satanic sturdiness. He now thought himself qualified to make himself acquainted with the family,—though aware of his hideous appearance, he very wisely began with the blind gentleman, on whom he ventured to make a call when the rest of the family were out of doors. He had just begun to interest the old man in his favour, when their tête-a-tête is unluckily interrupted, and the poor monster is abused and maltreated as heretofore by the villagers. He flies to the woods, furious with rage, and disappointed affection; and, finding on his return that the cottagers had forsaken the place, scared by his portentous visit, he amuses himself in his rage with setting it on fire, and then sets out in search of his creator. Other circumstances occur in his journey to give him a greater antipathy to the human race. He confesses the murder of the boy, whom, lighting upon, he wished to carry off, in the hope that he might find in him an object to attach himself to;—the murder was partly accidental,—but the slipping the picture into Justine's pocket was a piece of devilish malice. He concludes with denouncing vengeance against Frankenstein and all his race, if he does not agree to one request, to create a female companion for him like himself, with whom he proposes to retire to the wilds of North America, and never again to come into contact with man.
It is needless to go minutely through the remainder of this wild fiction. After some demurring, Frankenstein at last accedes to the demand, and, begins a second time the abhorred creation of a human being,—but again repents, and defies the demon; who thenceforth recommences his diabolical warfare against the unhappy philosopher,—destroys his friends and relations one by one, and finally murders his beloved Elizabeth, on the very evening of their marriage. Frankenstein, alive only to vengeance, now pursues the fiend over the world,—and it was in this chace that he had got into the neighbourhood of the North Pole, where he was but a little way behind him, but had quite spent himself in the pursuit. So ends the narrative of Frankenstein, and worn out nature soon after yields to the bitterness of his thoughts and his exhausted frame. He dies, and, to the astonishment of our Englishman and the crew, the monster makes his appearance,—laments the fate of his creator,—says that his feelings of vengeance are for ever at an end,—departs, and is heard of no more.
Such is a sketch of this singular performance, in which there is much power and beauty, both of thought and expression, though, in many parts, the execution is imperfect, and bearing the marks of an unpracticed hand. It is one of those works, however, which, when we have read, we do not well see why it should have been written;—for a jeu d'esprit it is somewhat too long, grave, and laborious,—and some of our highest and most reverential feelings receive a shock from the conception on which it turns, so as to produce a painful and bewildered state of mind while we peruse it. We are accustomed, happily, to look upon the creation of a living and intelligent being as a work that is fitted only to inspire a religious emotion, and there is an impropriety, to say no worse, in placing it in any other light. It might, indeed, be the author's view to shew that the powers of man have been wisely limited, and that misery would follow their extension,—but still the expression "Creator," applied to a mere human being, gives us the same sort of shock with the phrase, "the Man Almighty," and others of the same kind, in Mr Southey's "Curse of Kehama." All these monstrous conceptions are the consequences of the wild and irregular theories of the age; though we do not at all mean to infer that the authors who give into such freedoms have done so with any bad intentions. This incongruity, however, with our established and most sacred notions, is the chief fault in such fictions, regarding them merely in a critical point of view. Shakespeare's Caliban (though his simplicity and suitableness to the place where he is found are very delightful) is, perhaps, a more hateful being than our good friend in this book. But Caliban comes into existence in the received way which common superstition had pointed out; we should not have endured him if Prospero had created him. Getting over this original absurdity, the character of our monster is in good keeping;—there is a grandeur, too, in the scenery in which he makes his appearances,—the ice-mountains of the Pole, or the glaciers of the Alps;—his natural tendency to kind feelings, and the manner in which they were blighted,—and all the domestic picture of the cottage, are very interesting and beautiful. We hope yet to have more productions, both from this author and his great model, Mr Godwin; but they would make a great improvement in their writings, if they would rather study the established order of nature as it appears, both in the world of matter and of mind, than continue to revolt our feelings by hazardous innovations in either of these departments.
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