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Critical review of frankenstein novel
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Ever since it’s conception into English Literature, the captivating novel Frankenstein by Mary Shelley has continued to be reproduced in various ways to honor its renowned tale and its enduring moral. The original novel was published in January of 1818 and since then, the enchanting story has been extremely popular. Frankenstein has been performed many times from its first dramatic performance in 1823 to just a few months ago on Broadway (Young Frankenstein), and numerous productions in between. However, not all reproductions stay true to the original Gothic masterpiece.
The earliest recreations of Frankenstein are traced back to mid-to-late 19th century plays. In 1823, Richard Brinksley Peake directed the first stage reproduction of Frankenstein in a common English theater. Its title however was changed from Frankenstein to Presumption: The Fate of Frankenstein. In this production, few to no scenes were altered. Soon the famous, now dramatic, work of literature spread throughout Europe and plays were being performed all over. From Italy to Spain and back to England, various directors took Mary Shelley’s masterpiece into their own hands. (Administrator, Rohrmoser)
Later on in 1927, the British play Frankenstein: An Experiment was performed, along with some 60 years later Libby Larson’s opera Frankenstein: The Modern Day Prometheus was in theatres as well. The original moral of stepping beyond one's reach and voltaic ambition were kept key and few to no scenes were changed. This was the basic foundation for these plays and throughout the beginning of the first motion picture productions. (Administrator)
The first movie recreations of Frankenstein were in 1910, the fourteen-minute Frankenstein by Edison Studios, the 1920 The Monster...
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...g moral. However, not all reproductions stay true to the original Gothic masterpiece. Many in fact, stray completely from Mary Shelley’s original intention and just use her characters as puppets, forgetting their original purposes. Frankenstein has been reproduced in hundreds of ways for over a hundred years, the most comedic, most horrific, or most memorable versions may not expose what Shelley's original point of the novel is. Kenneth Branagh's 1994 reproduction of Frankenstein proves to be the most loyal to the original novel. Branagh's version stays along the same plot, expands on Shelley's characters, keeps the most vital scenes prevalent and retains the novel's Gothic tragedy instead of a Sci-fi horror. From its proper characterization to its impeccable interpretation of detail, Frankenstein (1994) is a reproduction that Mary Shelley herself would be proud of.
Mary Shelley is the original playwright of 'Frankenstein' and it has been adapted since then by Phillip Pullman. Mary wrote it in 1818 and it was first performed in 1988, at the Polka Children's theatre in Wimbledon. In the play, a doctor called Victor Frankenstein created life from an experiment, a monster, and although Frankenstein had intended the monster (who wasn't to be called 'the monster') to be a kind, caring and loving creature, the way the villagers treated him and turned away in disgust when they saw the monster, was the reason that the monster became evil.
Since the original novel Frankenstein by Mary Shelley, to the multiple movie adaptations, the monster is almost always predicted as the monster of the story. It may be his physical appearance, from his tall, broad frame, to the signature screws in his neck. It may also be his unnatural upbringing and interpreted evil characteristics. We have grown to fear the monster, which ultimately, has masked the true monster, Dr. Frankenstein. With each coming movie, the good side of the monster is brought to light, while the real monster shows his true colors.
Shelley, Mary Wollstonecraft, and Maurice Hindle. Frankenstein, Or, The Modern Prometheus. London: Penguin, 2003. Print.
Both “Frankenstein” (1931) and “Bride of Frankenstein” (1935) portrayed characters and events differently than Shelley would have desired. Her novel had many deeper implications than the movie portrayed. James Whale and the many adapters/screenwriters involved in both films leeched onto the inhumanity of the monster and the terror he could create. The monster could not speak at all in “Frankenstein” but did learn to speak poorly in “Bride of Frankenstein.” However, when he is finally given the ability to speak, the monster is portrayed as a shallow character that indulges in simple pleasures.
Frankenstein: Contexts, nineteenth century responses, criticism. By Mary Shelley. Norton Critical Edition. New York: New York. 1996.
Shelley, Mary. Frankenstein: the original 1818 text. 2nd ed. Ed. D.L. Macdonald and Kathleen Scherf. Peterborough: Broadview, 1999.
Another difference between the movie and the book Frankenstein is that, in the novel, we are told that, Frankenstein created the creature from scientific principles of building up human body parts. However, we are not told how he got t...
Baldick, C. "Making Monstrous - 'Frankenstein', Criticism, Theory - Botting,F." Review Of English Studies 45 (1994): 90-99.
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
Works Cited for: Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. a. a. a. a. a J. Paul Hunter. New York: W. W. Norton, 1996.
These movies show how the original image of Dr. Frankenstein’s creation has changed over time, and how he can be altered into many different forms. Contrary to popular belief, Frankenstein’s creation is not a huge, green, evil monster with neck bolts. The monster is a very enduring character, and his different qualities are shown in Frankenweenie and Edward Scissorhands. Both of the following films dab in the Gothic style, and portray the different qualities from the novel Frankenstein. From dogs to humans with scissor hands, Frankenstein’s monster appears in so many things in pop culture today.
Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
Frankenstein by Mary Shelly is an old classic that has been enjoyed by many generations. Despite the fact that the novel was written over a hundred years ago, it is not only beautifully written but also enthralling and well composed. At the young age of eighteen, Mary Shelly raises questions about education and knowledge to which are answered through the well written characters in the novel. The Monster, who is a creation of another character, is highlighted as an individual who goes through an intellectual change.
Frankenstein in a Historical Sense Mary Shelley’s Frankenstein was published in 1818 during the Romantic era. Romanticism describes the period of time from the late 18th century to the mid 19th century. This period was seen as a response to the Enlightenment; overall there was an increase in the desire to understand the world in an objective matter (lecture). Though Romanticism is commonly viewed as a literary and artistic movement, Mary Shelley gives evidence on the development of Europe in a historical sense through her novel, Frankenstein. Through the motifs and personal experiences of her characters, Mary Shelley’s Frankenstein gives insight on scientific development, emerging roles of women, and how the individual is viewed as the lower class during the early 19th century.
Mary Shelley in her book Frankenstein addresses numerous themes relevant to the current trends in society during that period. However, the novel has received criticism from numerous authors. This paper discusses Walter Scott’s critical analysis of Mary Shelley’s Frankenstein in his Blackwood's Edinburgh Magazine Review of Frankenstein (1818).