Shelleys' Gothic Classics: Frankenstein & St. Irvyne. Мэри Шелли

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       Mary Shelley, Percy Bysshe Shelley

      Shelleys' Gothic Classics: Frankenstein & St. Irvyne

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      2018 OK Publishing

      ISBN 978-80-272-4727-1

      Table of Contents

       Frankenstein (Original 1818 Edition)

       St. Irvyne

      Frankenstein

       (Original 1818 Edition)

       Table of Contents

       Preface

       Volume One

       Letter One

       Letter Two

       Letter Three

       Letter Four

       Chapter One

       Chapter Two

       Chapter Three

       Chapter Four

       Chapter Five

       Chapter Six

       Chapter Seven

       Volume Two

       Chapter One

       Chapter Two

       Chapter Three

       Chapter Four

       Chapter Five

       Chapter Six

       Chapter Seven

       Chapter Eight

       Chapter Nine

       Volume Three

       Chapter One

       Chapter Two

       Chapter Three

       Chapter Four

       Chapter Five

       Chapter Six

       Chapter Seven

       Walton In Continuation

      Preface

       Table of Contents

      THE event on which this fiction is founded has been supposed, by Dr. Darwin, and some of the physiological writers of Germany, as not of impossible occurrence. I shall not be supposed as according the remotest degree of serious faith to such an imagination; yet, in assuming it as the basis of a work of fancy, I have not considered myself as merely weaving a series of supernatural terrors. The event on which the interest of the story depends is exempt from the disadvantages of a mere tale of spectres or enchantment. It was recommended by the novelty of the situations which it developes; and, however impossible as a physical fact, affords a point of view to the imagination for the delineating of human passions more comprehensive and commanding than any which the ordinary relations of existing events can yield.

      I have thus endeavoured to preserve the truth of the elementary principles of human nature, while I have not scrupled to innovate upon their combinations. The Iliad, the tragic poetry of Greece, Shakespeare, in the Tempest and Midsummer Night’s Dream and most especially Milton, in Paradise Lost, conform to this rule; and the most humble novelist, who seeks to confer or receive amusement from his labours, may, without presumption, apply to prose fiction a licence, or rather a rule, from the adoption of which so many exquisite combinations of human feeling have resulted in the highest specimens of poetry.

      The circumstance on which my story rests was suggested in casual conversation. It was commenced partly as a source of amusement, and partly as an expedient for exercising any untried resources of mind. Other motives were mingled with these as the work proceeded. I am by no means indifferent to the manner in which whatever moral tendencies exist in the sentiments or characters it contains shall affect the reader; yet my chief concern in this respect has been limited to the avoiding the enervating effects of the novels of the present day, and to the exhibition of the amiableness of domestic affection, and the excellence of universal virtue. The opinions which naturally spring from the character and situation of the hero are by no means to be conceived as existing always in my own conviction; nor is any inference justly to be drawn from the following pages as prejudicing any philosophical doctrine of whatever kind.

      It is a subject also of additional interest to the author that this story was begun in the majestic region where the scene is principally laid, and