The Quarterly Review

Quarterly Review 18 (January [delayed until 12 June] 1818): 379-385—by John Wilson Croker.

Frankenstein, a Swiss student at the university of Ingolstadt, is led by a peculiar enthusiasm to study the structure of the human frame, and to attempt to follow to its recondite sources 'the stream of animal being.' In examining the causes of life, he informs us, antithetically, that he had first recourse to death.—He became acquainted with anatomy; but that was not all; he traced through vaults and charnel houses the decay and corruption of the human body, and whilst engaged in this agreeable pursuit, examining and analyzing the minutiae of mortality, and the phenomena of the change from life to death and from death to life, a sudden light broke in upon him—

'A light so brilliant and wondrous, yet so simple, that while I became dizzy with the immensity of the prospect which it illustrated, I was surprized that among so many men of genius, who had directed their inquiries towards the same science, I alone should be reserved to discover so astonishing a secret.

'Remember, I am NOT recording the vision of a madman. The sun does not more certainly shine in the heavens, than that which I now affirm is true. Some miracle might have produced it, yet the stages of the discovery were distinct and probable. After days and nights of incredible labour and fatigue, I succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter.'—p. 84-85.

Having made this wonderful discovery, he hastened to put it in practice; by plundering graves and stealing, not bodies, but parts of bodies, from the church-yard: by dabbling (as he delicately expresses it) with the unhallowed damps of the grave, and torturing the living animal to animate lifeless clay, our modern Prometheus formed a filthy image to which the last step of his art was to communicate being:—for the conveiniece of the process of his animal manufacture, he had chosen to form his figure about eight feet high, and he endeavoured to make it as handsome as he could—he succeeded in the first object and failed in the second; he made and animated his giant; but by some little mistakein the artist's calculation, the intended beauty turned out the ugliest monster that ever deformed the day. The creator, terrified at his own work, flies into one wood, and the work, terrified at itself, flies into another. Here the monster, by the easy process of listening at the window of a cottage, acquires a complete education: he learns to think, to talk, to read prose and verse; he becomes acquainted with geography, history, and natural philosophy, in short, 'a most delicate monster.' This credible course of study, and its very natural success, and brought about by a combination of circumstances almost as natural. In the aforesaid cottage, a young Frenchman employed his time in teaching an Arabian girl all these fine things, utterly unconscious that while he was

'whispering soft lessons in his fair one's ear,'

he was also tutoring Frankenstein's hopeful son. The monster, however, by due diligence, becomes highly accomplished: he reads Plutarch's Lives, Paradise Lost, Volney's Ruin of Empires, and the Sorrows of Werter. Such were the works which constituted the Greco-Anglico-Germanico-Gallico-Arabic library of a Swabian hut, which, if not numerous, was at least miscellaneous, and reminds us, in this particular, of Lingo's famous combination of historic characters—'Mahomet, Heliogabalus, Wat Tyler, and Jack the Painter.' He learns also the decypher some writings which he carried off from the laboratory in which he was manufactured; by these papers he becomes acquainted with the name and residence of Frankenstein and his family, and as his education has given him so good a taste as to detest himself, he has also the good sense to detest his creator for imposing upon him such a horrible burden as conscious existence, and he therefore commences a series of bloody persecutions against the unhappy Frankenstein—he murders his infant brother, his young bride, his bosom friend; even the very nursury maids of the family are not safe from his vengeance, for he contrives that they shall be hanged for robbery and murder which he himself commits.

The monster, however, has some method in his madness: he meets his Prometheus in the valley of Chamouny, and, in a long conversation, tells him the whole story of his adventures and his crimes, and declares that he will 'spill more blood and become worse,' unless Frankenstein will make (we should perhaps say build) a wife for him: the Sorrows of Werter had, it seems, given him a strange longing to find a Charlotte, of a suitable size, and it is plain that none of Eve's daughters, not even the enormous Charlotte of the Variétés herself, would have suited this stupendous fantoccino. A compliance with this natural desire his kind-hearted parent most resonably promises; but, on further consideration, he becomes alarmed at the thought of reviving the race of Anak, and he therefore resolves to break his engagement, and to defeat the procreative propensities of his ungracious child—hence great wrath and new horrors—parental unkindness and filial ingratitude. The monster hastens to execute his promised course of atrocity, and the monster-maker hurries after to stab or shoot him, and so put an end to his proceedings. This chase leads Frankenstein through Germany and France, to England, Scotland, and Ireland, in which latter country, heis taken up by a constable called Daniel Nugent, and carred before Squire Kirwan a magistrate, and very nearly hanged for a murder committed by the monster. We were greatly edified with the laudable minuteness which induces the author to give us the names of these officers of justice; it would, however, have been but fair to have given us also those of the impartial judge and enlightened jury who acquitted him, for acquitted, as our readers will be glad to hear, honoourably, acquitted, he was at the assizes of Donegal.—Escaped from this peril, he renews the chase, and the monster, finding himself hard pressed, resolves to fly to the most inaccessible point of the earth; and, as our Review had not yet enlightened mankind upon the real state of the North Pole, he directs his course thither as a sure place of solitude and security; but Frankenstein, who probably has read Mr. Daines Barrington and Colonel Beaufoy on the subject, was not discouraged, and follows him with redoubled vigour, the monster flying on a sledge drawn by dogs, according to the Colonel's proposition, and Prometheus following in another—the former, however, had either more skill or better luck than the latter, whose dogs died, and who must have been drowned on the breaking up of the ice, had he not been fortunately picked up in the nick of time by Mr. Walton, the master of an English whaler, employed on a voyage of discovery towards the North Pole. On board this ship poor Frankenstein, after telling his story to Mr. Walton, who has been so kind to write it down for our use, dies of cold, fatigue, and horror; and soon after, the monster, who had borrowed (we presume from the flourishing colony of East Greenland) a kind of raft, comes alongside the ship, and notwithstanding his huge bulk, jumps in at Mr. Walton's cabin window, and is surprised by that gentleman pronouncing a funeral oration over the departed Frankenstein; after which, declaring that he will go back to the Pole, and there burn himself on a funeral pyre (of ice, we conjecture) of his own collecting, he jumps again out the window into his raft, and is out of sight in a moment.

Our readers will guess from this summary, what a tissue of horrible and disgusting absurdity this work presents.—It is piously dedicated to Mr. Godwin, and is written in the spirit of his school. The dreams of insanity are embodied in the strong and striking language of the insane, and the author, notwithstanding the rationality of his preface, often leaves us in doubt whether he is not as mad as his hero. Mr. Godwin is the patriarch of a literary family, whose chief skill is in delineating the wanderings of the intellect, and which strangely delights in the most affecting and humilitating of human miseries. His disciples are a kind of out pensioners of Bedlam, and like 'Mad Bess' or 'Mad Tom,' are occasionally visited with paroxysms of genius and fits of expression, which makes sober-minded people wonder and shudder.

We shall give our readers a very favourable specimen of the vigour of fancy and language with which this work is written, by extracting from it the three passages which struck us the most on our perusal of it. The first is the account of the animation of the image.

'It was on a dreary night of November, that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.

'How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful!—Great G—! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shrivelled complexion and straight black lips.

'The different accidents of life are not so changeable as the feelings of human nature. I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. For this I had deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room, and continued a long time traversing my bed-chamber, unable to compose my mind to sleep. At length lassitude succeeded to the tumult I had before endured; and I threw myself on the bed in my clothes, endeavouring to seek a few moments of forgetfulness. But it was in vain: I slept indeed, but I was disturbed by the wildest dreams. I thought I saw Elizabeth, in the bloom of health, walking in the streets of Ingolstadt. Delighted and surprized, I embraced her; but as I imprinted the first kiss on her lips, they became livid with the hue of death; her features appeared to change, and I thought that I held the corpse of my dead mother in my arms; a shrowd enveloped her form, and I saw the grave-worms crawling in the folds of the flannel. I started from my sleep with horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed; when, by the dim and yellow light of the moon, as it forced its way through the window-shutters, I beheld the wretch—the miserable monster whom I had created. He held up the curtain of the bed; and his eyes, if eyes they may be called, were fixed on me. His jaws opened, and he muttered some inarticulate sounds, while a grin wrinkled his cheeks. He might have spoken, but I did not hear; one hand was stretched out, seemingly to detain me, but I escaped, and rushed down stairs. I took refuge in the court-yard belonging to the house which I inhabited; where I remained during the rest of the night, walking up and down in the greatest agitation, listening attentively, catching and fearing each sound as if it were to announce the approach of the demoniacal corpse to which I had so miserably given life.'—vol. i. pp. 97-101.

The next is a description of the meeting in the valley of Chamouny.

'It was nearly noon 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 Montanvert 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 aërial 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. But I scarcely observed this; rage and hatred had at first deprived me of utterance, and I recovered only to overwhelm him with words expressive of furious detestation and contempt.'–vol. ii. pp. 21-23.

The last with which we shall agitate the nerves of our readers is Captain Walton's description of the monster he found in his cabin.

'O! what a scene has just taken place! I am yet dizzy with the remembrance of it. I hardly know whether I shall have the power to detail it; yet the tale which I have recorded would be incomplete without this final and wonderful catastrophe.

'I entered the cabin, where lay the remains of my ill-fated and admirable friend. Over him hung a form which I cannot find words to describe; gigantic in stature, yet uncouth and distorted in its proportions. As he hung over the coffin, his face was concealed by long locks of ragged hair; but one vast hand was extended, in colour and apparent texture like that of a mummy. When he heard the sound of my approach, he ceased to utter exclamations of grief and horror, and sprung towards the window. Never did I behold a vision so horrible as his face, of such loathsome, yet appalling hideousness. I shut my eyes involuntarily, and endeavoured to recollect what were my duties with regard to this destroyer. I called on him to stay.

'He paused, looking on me with wonder; and, again turning towards the lifeless form of his creator, he seemed to forget my presence, and every feature and gesture seemed instigated by the wildest rage of some uncontrollable passion.

'"That is also my victim!" he exclaimed; "in his murder my crimes are consummated; the miserable series of my being is wound to its close! Oh, Frankenstein! generous and self-devoted being! what does it avail that I now ask thee to pardon me? I, who irretrievably destroyed thee by destroying all thou lovedst. Alas! he is cold; he may not answer me."

'His voice seemed suffocated; and my first impulses, which had suggested to me the duty of obeying the dying request of my friend, in destroying his enemy, were now suspended by a mixture of curiosity and compassion. I approached this tremendous being; I dared not again raise my looks upon his face, there was something so scaring and unearthly in its ugliness. I attempted to speak, but the words died away on my lips. The monster continued to utter wild and incoherent self-reproaches.'—vol. iii. pp. 178-181.

It cannot be denied that this is nonsense—but it is nonsense decked out with circumstances and clothed in language highly terrific: it is, indeed,

————————————'a tale
Told by an ideot, full of sound and fury,
Signifying nothing—'

but still there is something tremendous in the unmeaning hollowness of its sound, and the vague obscurity of its images.

But when we have thus admitted that Frankenstein has passages which appal the mind and make the flesh creep, we have given it all the praise (if praise it can be called) which we dare to bestow. Our taste and our judgment alike revolt at this kind of writing, and the greater the ability with which it may be executed the worse it is—it inculcates no lesson of conduct, manners, or morality; it cannot mend, and will not even amuse its readers, unless their taste have been deplorably vitiated—it fatigues the feelings without interesting the understanding; it gratuitously harasses the heart, and wantonly adds to the store, already too great, of painful sensations. The author has powers, both of conception and language, which employed in a happier direction might, perhaps, (we speak dubiously,) give him a name among these whose writings amuse or amend their fellow-creatures; but we take the liberty of assuring him, and hope that he may be in a temper to listen to us, that the style which he has adopted in the present publication merely tends to defeat his own purpose, if he really had any other object in view than that of leaving the wearied reader, after a struggle between laughter and loathing, in doubt whether the head or the heart of the author be the most diseased.

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