Mary Shelley's Frankenstein is one of the most popular horror novels. The book tells about a fanatical scientist and his frightening creation. Amazingly, it was written by a girl who was only 18 years old. Victor Frankishtein in Mary Shelley's novel is a typical prototype of a modern scientist. At night, he goes to the cemetery to find bodies there. He needs the dead to fulfill his insane plan. This story has become truly iconic. Yes, yes, this is an important part of modern mass culture. Frankenstein by Mary Shelley is a work written in a special period - radical changes were yet to come. But people already felt that life was changing, so the novel is saturated with rather disturbing moods.
Frankenstein was written in 1816, at a time when amazing scientific discoveries were being made. It was the formation of the mechanization of production. Electricity was discovered, it began to accumulate in large batteries to be used in experiments.
In the 18th century, many scientists were fascinated by new discoveries. They worked on a wide variety of aspects of electrical research. This is where it all started. But many doubted that these new scientific developments were aimed at the benefit of mankind. Church representatives feared that scientists would try to change the laws of nature. The idea that a person can become like God and manage life with the help of modern technologies captivated and frightened at the same time. Some people of science were considered almost servants of the devil, whose attempts, in the end, could lead to the destruction of mankind.
In the 19th century, everything seemed possible. Of course, the phenomenon of electricity had a powerful impact on the public, poorly versed in the laws of physics. Such people tend to look for a mystical background in everything. Writers, in turn, reacted very sensitively to any manifestations of scientific and technological progress, and this could not but worry
The young girl Mary Shelley grew up in turbulent times. Her life was riddled with fear of an unknown future. Creepy stories like her novel were a natural reaction to the inexorable progress of science. It was a serious warning, embodied in art form.
Even 200 years after the writing of the novel, the image of Frankenstein's monster is still relevant. In films based on books, its creator is personified as an obsessed scientist who has violated the boundaries of what is permitted.
Mary Shelley's Frankenstein is one of the most popular stories horror. This is a timeless work of art. But what inspired the young writer to create such a sinister novel? How did the image of Victor Frankenstein come into her mind? In 1816, Mary Shelley and a splendid community of writers and intellectuals visited Lord Byron at his country house on the shores of Lake Geneva. There, during a major climate change, Shelley's story of Frankenstein was born. After the eruption of a giant volcano in Asia, millions of tons of ash were released into the atmosphere, eclipsing the sun, volcanic ash brought with it destructive storms and dark clouds that dragged Europe for a whole year.
Undoubtedly, she influenced an impressionable girl. In her manuscript, Mary Shelley describes the moment when the thought of Frankenstein first occurred to her. This disturbing image visited her during a nightmare. The fact that the prototype of her famous character appeared to Mary Shelley in a dream - this is known fact. She saw a young scientist, clearly possessed. He bent over his creation in utter confusion. This was a clear example of the work of the writer's subconscious.
Before me lie the incredible manuscripts of Frankenstein. It is a very special feeling to see these pages, these words. After all, this is the most vivid display of the work of the mind and imagination of Mary Shelley. She dips her pen into the ink and writes: “One stormy November night I saw the completion of my labors. With agonizing excitement, I gathered everything necessary to ignite life in the insensible creature that lay at my feet. The candle is almost burned out. And now, in its uneven light, I saw dim yellow eyes open. The creature began to breathe and twitch convulsively. And so the story of Frankenstein's monster was born.
Mary Shelley's novel was inspired by scholars working in the 18th and 19th centuries. They conducted dubious, from the point of view of ethics, experiments with electricity, trying to bring the dead back to life. Revealing the secrets of being, these scientists did not disdain the looting of graves and occult practices. What drove them to such shocking acts? Where did the idea to resurrect the dead come from? The writers managed to find historical evidence that the plot of a grotesque monster sewn from parts of corpses was prompted by life itself. This means that the story of Frankenstein was inspired not by myths, but by real events. Victor Frankenstein studies the possibilities of electricity, he experiments on human bodies, he visits the cemetery in search of the corpses he needs to create his monster. Of course, this interpretation of the image of the 19th century scientist caused a stormy response from Mary Shelley's readers. Frankenstein is a very vivid, very accurate reflection in the literature of the process that comes from the science of that time. Shelley showed the worst case scenario. A situation in which a scientist loses control of his invention. Since then, the theme of the unpredictable consequences of progress has become one of the central fiction.
At the turn of the century, many scientists were doing risky experiments. It is believed that at least four famous personalities from the world of science inspired Mary Shelley to create Frankenstein. Luigi Galvani is an Italian scientist fascinated by static electricity and lightning. Giovani Aldini is a relative of Galvani and his follower, known for his sinister experiments. Andrew Ure, a Scotsman whose activities often shocked the public of the time. And Kondrat Dippel, the German researcher most closely associated with the Frankenstein story. All these people performed horrific experiments on living beings and corpses. They dealt with forces they could not control and worked in a volatile realm between science and mysticism. It was a dangerous path, because the scientists themselves did not even suspect what these searches could lead to.
Luigi Galvani was very famous and influential person. Galvani was a Bolognese physician. He, like other scientists of the time, was fascinated by a new and mysterious force called electricity. When Mary Shelley wrote her book, she already knew of its existence. In the preface to the novel, the writer cited a conversation with friends during which there was an assumption that the corpse could be revived with the help of galvanism. But the 1831 revised edition of Frankenstein was published on Halloween Eve. The preface says that Mary Shelley had an idea about the scientific experiments that were then being carried out. Here she writes that the corpse can probably be revived. Galvanism could suggest a method by which it would be possible to create separate parts of a living being, connect them together and fill them with life-giving warmth.
In the Italian city of Bologna is the Academy of Sciences, one of the oldest educational institutions in Europe. It was here that in the late 18th century, Galvani began to conduct his amazing and frightening experiments. At the end of the 18th century, in Bologna, a lot of scientists and researchers gathered to study electricity. People have studied this phenomenon in all aspects. It is said that once Señor Galvani was in a bad mood. To distract him, his wife decided to cook frog leg soup. Galvani was sitting in the kitchen and suddenly thunder rumbled. The amazed scientist noticed that every time lightning flashed, the limbs of the amphibians on his plate twitched.
Galvani and his supporters believed that it was a special kind of electricity. The so-called animal electricity was different from the artificial electricity produced by machines and devices. It also didn't look like natural electricity from lightning during a thunderstorm. Luigi Galvani began experimenting with this mysterious power. He made a huge contribution to this field of science. Galvani gained fame after experimenting with a frog. He clearly demonstrated his theory with the help of static electricity. The scientist believed that he could solve the mystery of life by studying the characteristics of biological substances. One day, he touched the frog's buttock muscle with a scalpel charged with electricity.
It was at that moment in history that he saw the dead frog's leg twitch sharply. In 1791, Galvani's research was published in a work that completely changed attitudes towards aspects of human and animal physiology. The term galvanism has become known all over the world. Many were shocked by the radical ideas of the Italian scientist, supposedly able to prove that dead animals can be brought back to life.
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Tags:Victor Frankenstein- main actor Mary Shelley's novel Frankenstein, or the Modern Prometheus (1818), as well as a character (including under the names Henry Frankenstein, Charles Frankenstein, Dr. Frankenstein or Baron Frankenstein) many book, dramatic and cinematic adaptations of its plot.
| Victor Frankenstein | |
|---|---|
| Victor Frankenstein | |
| Creator | Mary Shelley |
| Artworks | Frankenstein, or Modern Prometheus |
| Floor | male |
| A family | father - Alphonse Frankenstein mother - Carolyn Beaufort brothers - William, Ernest wife Elizabeth |
| Children | Ludwig Frankenstein [d] and Wolf Frankenstein [d] |
| Nickname | Henry Frankenstein Charles Frankenstein |
| Occupation | scientist |
| Prototype | Johann Konrad Dippel, Giovanni Aldini, Luigi Galvani |
| Role played | Colin Clive , Peter Cushing , Boris Karloff , Joseph Cotten , Kenneth Branagh , James McAvoy and many more |
Characteristic
In the novel, Victor Frankenstein, a young student from Geneva, creates a living creature from dead matter, for which he collects the likeness of a person from the fragments of the bodies of the dead, and then finds a "scientific" way to revive him, realizing the concept of "creating life without women"; however, the revived creature turns out to be a monster.
Frankenstein as a character is characterized by a desire for knowledge that is not limited by ethical considerations; only having created a monster, he realizes that he has gone a vicious path. However, the monster already exists beyond its will, it is trying to realize itself and makes Frankenstein responsible for its existence.
Frankenstein and the monster he created form a gnostic pair, consisting of a creator and his creation, inevitably burdened with evil. Reinterpreted in terms of Christian ethics, this couple illustrates the failure of man's attempts to assume the functions of God, or the impossibility of knowing God with the help of reason. If we consider the situation in a rational way, characteristic of the Age of Enlightenment, then it is transformed into the problem of the scientist's ethical responsibility for the consequences of his discoveries.
Some sources suggest that the German scientist Johann Konrad Dippel (1673-1734), who was born in Frankenstein Castle, served as the prototype of Frankenstein.
In other works
The multiplicity and ambiguity of interpretations generated by these images of Frankenstein and his creations have created the prerequisites for constant attempts to comprehend and rethink them in various art forms- first in the theater, and then in the cinema, where the plot of the novel went through several stages of adaptation and acquired new stable motives that were completely absent in the book (the theme of brain transplantation as a metaphor for soul transplantation) or were outlined, but not deployed (the theme of the Bride of Frankenstein ). It was in the cinema that Frankenstein was made a “baron” - in the novel he did not have a baronial title, and could not have, if only because he is a Genevan (after the Reformation, the canton of Geneva did not recognize titles of nobility, although formally noble families remained).
It is also common in popular culture to mix images of Frankenstein and the monster he created, which is erroneously called "Frankenstein" (for example, in the saturated images of popular culture animated film"Yellow Submarine "). In addition, the image of Frankenstein gave rise to many different sequels - various sons and brothers appeared, speaking under the names Wolf, Charles, Henry, Ludwig, and even daughter Elsa.
Indirectly (and in some series openly) the idea of creating life from non-life, exactly how Frankenstein created the monster, is found in the movie "Oh, this science" and the remake series "Wonders of Science". This is shown in the very first episode, where the guys were inspired to create an artificial woman by the movie Bride of Frankenstein. And in the first episode of season 4, they do meet in person with the doctor and his monster.
father - Alphonse Frankenstein
mother - Carolyn Beaufort
brothers - William, Ernest
wife Elizabeth
Henry Frankenstein Charles Frankenstein
In other works
The multiplicity and ambiguity of interpretations generated by these images of Frankenstein and his creation created the prerequisites for constant attempts to comprehend and rethink them in various artistic forms - first in the theater, and then in cinema, where the plot of the novel went through several stages of adaptation and acquired new stable motifs which were completely absent in the book (the theme of brain transplantation as a metaphor for soul transplantation) or were outlined but not developed (the theme of the Bride of Frankenstein). It was in the cinema that Frankenstein was made a “baron” - in the novel he did not have a baronial title, and could not have, if only because he was a Genevan (after the Reformation, the canton of Geneva did not recognize titles of nobility, although noble families formally remained).
In popular culture, there is also often a mixture of images of Frankenstein and the monster he created, which is mistakenly called "Frankenstein" (for example, in the animated film "Yellow Submarine", saturated with images of popular culture). In addition, the image of Frankenstein gave rise to many different sequels - various sons and brothers appeared, speaking under the names Wolf, Charles, Henry, Ludwig, and even daughter Elsa.
Indirectly (and in some series openly) the idea of creating life from non-life, exactly how Frankenstein created the monster, is found in the movie "Oh, this science" and the remake series "Wonders of Science". This is shown in the very first episode, where the guys were inspired to create an artificial woman by the movie Bride of Frankenstein. And in the first episode of season 4, they do meet in person with the doctor and his monster.
The image of Frankenstein is also found in the Korean manhwa Noblesse. Here he is presented as an outstanding scientist and a strong warrior, with abilities far beyond human capabilities.
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An excerpt characterizing Victor Frankenstein
A soldier with a swollen cheek looked angrily at the troopers of the cavalry.- Oh, dandies! he said reproachfully.
- Today, not only a soldier, but also seen peasants! The peasants are being driven out, too, ”said the soldier who stood behind the cart and turned to Pierre with a sad smile. - Today they don’t sort it out ... They want to pile on all the people, one word - Moscow. They want to make one end. - Despite the vagueness of the soldier's words, Pierre understood everything he wanted to say and nodded his head approvingly.
The road cleared, and Pierre went downhill and drove on.
Pierre rode, looking around on both sides of the road, looking for familiar faces and everywhere meeting only unfamiliar military faces of different branches of the armed forces, who looked at him with the same surprise. white hat and a green coat.
Having traveled four versts, he met his first acquaintance and joyfully turned to him. This acquaintance was one of the leading doctors in the army. He rode towards Pierre in a cart, sitting next to the young doctor, and, recognizing Pierre, stopped his Cossack, who was sitting on the goats instead of the coachman.
- Count! Your Excellency, how are you? the doctor asked.
Yes, I would like to see...
- Yes, yes, there will be something to see ...
Pierre got down and, stopping, talked to the doctor, explaining to him his intention to participate in the battle.
The doctor advised Bezukhov to turn directly to his lord.
“What do you mean, God knows where to be during the battle, in obscurity,” he said, exchanging glances with his young comrade, “but the brightest still knows you and will graciously accept you. So, father, do it, - said the doctor.
The doctor seemed tired and in a hurry.
- So you think ... And I also wanted to ask you, where is the very position? Pierre said.
- Position? the doctor said. - It's not my thing. You will pass Tatarinov, there is a lot of digging. There you will enter the barrow: you can see it from there,” said the doctor.
- And can you see it from there? .. If you ...
But the doctor interrupted him and moved to the britzka.
- I would accompany you, yes, by God, - here (the doctor pointed to his throat) I am galloping to the corps commander. After all, how is it with us? .. You know, count, tomorrow there is a battle: for a hundred thousand troops, a small number of twenty thousand wounded must be counted; and we have no stretchers, no beds, no paramedics, no doctors for six thousand. There are ten thousand carts, but you need something else; do as you wish.
That strange thought that out of those thousands of people alive, healthy, young and old, who looked with cheerful surprise at his hat, there were probably twenty thousand doomed to wounds and death (perhaps the very ones he saw), Pierre was startled.
They may die tomorrow, why do they think of anything other than death? And suddenly, due to some secret connection of thoughts, he vividly imagined the descent from the Mozhaisk mountain, carts with the wounded, ringing, slanting rays of the sun and the song of the cavalrymen.
“The cavalrymen go to battle and meet the wounded, and do not think for a minute about what awaits them, but walk past and wink at the wounded. And of all these, twenty thousand are doomed to death, and they are surprised at my hat! Weird!" thought Pierre, heading further towards Tatarinova.
At the landowner's house, on the left side of the road, there were carriages, wagons, crowds of batmen and sentries. Here stood the brightest. But at the time Pierre arrived, he was not there, and almost no one from the staff was there. Everyone was in prayer. Pierre rode forward to Gorki.
Driving up the mountain and driving out into a small village street, Pierre saw for the first time militia men with crosses on their hats and in white shirts, who, with a loud voice and laughter, were animated and sweaty, were working something to the right of the road, on a huge mound overgrown with grass .
Some of them were digging the mountain with shovels, others were carrying the earth along the boards in wheelbarrows, others were standing, doing nothing.
Two officers stood on the mound, directing them. Seeing these peasants, obviously still amused by their new military situation, Pierre again remembered the wounded soldiers in Mozhaisk, and it became clear to him what the soldier wanted to express, saying that they wanted to pile on all the people. The sight of these bearded men working on the battlefield with their strange clumsy boots, with their sweaty necks and some of their shirts unbuttoned with slanting collars, from under which the tanned bones of the collarbones could be seen, had an effect on Pierre more than anything he had seen and heard so far. about the solemnity and significance of the present moment.
Pierre got out of the carriage and, past the working militias, ascended the mound from which, as the doctor told him, the battlefield was visible.
It was eleven o'clock in the morning. The sun stood somewhat to the left and behind Pierre and brightly illuminated through the clean, rare air the huge panorama that opened before him like an amphitheater along the rising terrain.
Up and to the left along this amphitheater, cutting through it, the great Smolenskaya road wound, going through a village with a white church, lying five hundred paces in front of the mound and below it (this was Borodino). The road crossed under the village across the bridge and through the descents and ascents wound higher and higher to the village of Valuev, which could be seen six miles away (Napoleon was now standing in it). Behind Valuev, the road was hidden in a yellowed forest on the horizon. In this forest, birch and spruce, to the right of the direction of the road, a distant cross and the bell tower of the Kolotsky Monastery glittered in the sun. Throughout this blue distance, to the right and left of the forest and the road, different places smoking bonfires and indefinite masses of our and enemy troops could be seen. To the right, along the course of the Kolocha and Moskva rivers, the area was ravine and mountainous. Between their gorges, the villages of Bezzubovo and Zakharyino could be seen in the distance. To the left, the terrain was more even, there were fields with grain, and one could see one smoking, burned village - Semenovskaya.
Everything that Pierre saw to the right and to the left was so indefinite that neither the left nor Right side fields did not fully satisfy his idea. Everywhere there was not a share of the battle that he expected to see, but fields, clearings, troops, forests, smoke from fires, villages, mounds, streams; and no matter how much Pierre disassembled, he could not find positions in this living area and could not even distinguish your troops from the enemy.
For two centuries now, the monster created by Victor Frankenstein has been disturbing the mind, but few people know who was the prototype of the hero of the novel.
Halloween - who is the scariest in the White House?
Two centuries ago, an amazing novel by an anonymous author "Frankenstein: or, The Modern Prometheus" with a dedication to the English journalist and novelist William Godwin saw the light of day. This anarchist, in his "Enquiry Concerning Political Justice and its Influence on Morals and Happiness", urged humanity to free itself from the tyranny of the state, the Church, and private property so revered in the West. The dedication to Godwin was written by a loving daughter, Mary.
The authorship of a short work that instantly became a bestseller, which caused mortal boredom among critics, was established after five years. In 1831, Mary Shelley, née Mary Wollstonecraft Godwin, published a greatly revised edition of the book under her own name.
From the preface, readers have gleaned information about the creation of this work of English classical literature.
The summer of 1816 in Europe was something similar to the present. Often there was inclement weather, due to which three of the "English literature team" George Byron, John Polidori, Percy Shelley and his girlfriend (do not think bad - future wife) 18-year-old Mary Godwin sat for a long time at the fire.
Don't think we're joking! English high society used to spread nasty rumors about Mary, Byron and Shelley. Do we need to stoop to the level of British gentlemen and their snarky gossips?
In the absence of gadgets, the company amused itself by reading aloud scary German fairy tales in a more understandable French language for enlightened Englishmen. At some point, Byron invited all those present to write themselves according to a terrible fairy tale.
In Mary's head mixed up travel impressions of the stories about the inhabitants of the castle Frankenstein (Burg Frankenstein) in the mountains of Odenwald (Odenwald), talk about the experiments of Dr. Darwin (grandfather of the founder of Darwinism) and an ominous dream about a revived artificial creature. However, Mary still kept silent about something.
In 1975, the Romanian historian Radu Florescu (Radu Florescu, 1925-2014), one of the first to point out the connection between the fictional "Dracula" and the real ruler of medieval Wallachia, opened up about one German alchemist. The book he wrote was called "In Search of Frankenstein" ("In Search of Frankenstein").
The future anatomist, doctor, alchemist, theologian and mystic Johann Konrad Dippel (Johann Konrad Dippel) was born in the family of a priest on August 10, 1673 in Frankenstein Castle. From childhood he showed an interest in religious matters, studying theology at Gießen and philosophy at Wittenberg. However, in Strasbourg, the young student led such a wild life that, as they say, he was expelled from the city for some kind of bloody brawl.
In 1697, a young preacher, who lectured on astronomy and palmistry, published the opus Orthodoxia Orthodoxorum, and a year later, his next work came out from under the printed press, in which the 25-year-old Dippel smashed the papists, rejecting the dogma of Catholic redemption and the effectiveness of church sacraments.
He signed his works with various pseudonyms: most of Christianus Democritus - in honor of ancient Greek philosopher Democritus, Ernst Christian Kleinmann and Ernst Christoph Kleinmann.
It should be noted that the German surname Kleinmann (literally translated " little man") resembles the Latinized form of Parvus, that is, "baby." Such a pseudonym was chosen for himself by the Social Democrat and obese Russian Jew Israel Lazarevich Gelfand, who played a mysterious role in the Russian revolutions of a century ago.
Like Grigory Skovoroda, a Russian philosopher from the Little Russian Cossacks, Johann Dippel led a wandering life. This "European dervish" squandered his property on alchemical experiments, and then went to Leyden for a medical diploma.
But as soon as this practicing physician published Alea Belli Muselmannici in Amsterdam in 1711, he was immediately expelled from Holland. Dippel, who moved to Denmark, was soon forced to leave her as well, since he again began to send philippics to the saints. True, beforehand he had to sit on the prison gruel.
He ended his earthly days in Sweden, where he treated the sick with great success and managed to publish a heretical pamphlet.
The most accurate description of him was given by the main authority of Russian mystics early XIX century Johann Heinrich Jung-Stilling (Johann Heinrich Jung-Stilling, 1740-1817): "Dippel was very clever, but at the same time stubborn, proud, ambitious and bilious Zoil (named after the ancient Greek malevolent critic. - Ed.) ; he feared nothing in the whole world; perhaps he wanted to become a clergyman, and it seems to me that in this status he could turn the low into the high. Thus he combined mystical morality with the creed of our modern theology, and with it all sorts of eccentricities. In fact, he was an outlandish mixture!"
Despite the fact that in various non-fiction books about the life of Mary Shelley Dippel is mentioned as the prototype of Victor Frankenstein, most literary scholars tend to consider the connection between the alchemist and the hero of the novel far-fetched.
In the diary that Mary Shelley kept during her travels in Germany in 1840, when she again passed on the road from Darmstadt to Heidelberg, where 22 years earlier she allegedly heard stories about Dippel, the writer never mentions either him or Frankenstein.
Victor Frankenstein- the main character of Mary Shelley's novel Frankenstein, or Modern Prometheus" (1818), as well as the character (acting, including under the names Henry Frankenstein, Charles Frankenstein, Dr. Frankenstein or Baron Frankenstein) many book, dramatic and cinematic adaptations of its plot.
Characteristic
In the novel, Victor Frankenstein, a young student from Geneva, creates a living creature from dead matter, for which he collects the likeness of a person from the fragments of the bodies of the dead, and then finds a "scientific" way to revive him, realizing the concept of "creating life without women"; however, the revived creature turns out to be a monster.
Frankenstein as a character is characterized by a desire for knowledge that is not limited by ethical considerations; only having created a monster, he realizes that he has gone a vicious path. However, the monster already exists beyond its will, it is trying to realize itself and makes Frankenstein responsible for its existence.
Frankenstein and the monster he created form a gnostic pair, consisting of a creator and his creation, inevitably burdened with evil. Reinterpreted in terms of Christian ethics, this couple illustrates the failure of man's attempts to assume the functions of God, or the impossibility of knowing God with the help of reason. If we consider the situation in a rational way, then it is transformed into the problem of the scientist's ethical responsibility for the consequences of his discoveries.
Some sources suggest that the prototype of Frankenstein was the German scientist Johann Konrad Dippel (1673-1734), who was born in Frankenstein Castle.
In other works
The multiplicity and ambiguity of interpretations generated by these images of Frankenstein and his creation created the prerequisites for constant attempts to comprehend and rethink them in various artistic forms - first in the theater, and then in cinema, where the plot of the novel went through several stages of adaptation and acquired new stable motifs which were completely absent in the book (the theme of a brain transplant as a metaphor for a soul transplant) or were outlined but not developed (the theme of the Bride Frankenstein). It was in the cinema that Frankenstein was made a “baron” - in the novel he did not have a baronial title, and could not have, if only because he was a Genevan (after the Reformation, the canton of Geneva did not recognize titles of nobility, although noble families formally remained).
It is also common in popular culture to mix images of Frankenstein and the monster he created, which is erroneously called "Frankenstein" (for example, in the animated film "Yellow Submarine" saturated with images of popular culture). In addition, the image of Frankenstein gave rise to many different sequels - various sons and brothers appeared, speaking under the names Wolf, Charles, Henry, Ludwig, and even daughter Elsa.
Indirectly (and in some series openly) the idea of creating life from non-life, exactly how Frankenstein created the monster, is found in the film "Oh, that science" and the remake series "Wonders of Science". This is shown in the very first episode, where the guys were inspired to create an artificial woman by the film "