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Canton of Geneva


August, 2001



The Garden of Elizabeth, at Belrive. – Morning. (Same as Act I, Scene II.)

Enter Clerval from terrace entrance.

CLER. What a delightful morning! It is an auspicious commencement of the day which is to make me happy in the possession of my love! Elizabeth yet sleeps, peaceful be her slumbers! [Love has awakened me – the freshness of the air, and the beauty of the scenery animate me to the height of cheerfulness – ] Soft, she approaches.



Act I

August, 2001


  English Opera House, 28 July, 1823
  • Frankenstein: Mr. Wallack 
  • Clerval (his friend, in love with Elizabeth): Mr. Bland
  • William (brother of Frankenstein): Master Boden
  • Fritz (servant of Frankenstein): Mr. Keeley
  • DeLacey (a banished gentleman-blind): Mr. Rowbotham
  • Felix DeLacey (his son): Mr. Pearman
  • Tanskin (a gipsy): Mr. Shield
  • Hammerpan (a tinker): Mr. Salter
  • First Gipsy



Biographical Notice preceding "The Mortal Immortal" in _The Casquet of Literature_

September, 1997

Biographical Notice preceding 'The Mortal Immortal' in The Casquet of Literature

Mary Wollstonecraft Shelley, born 1798; died in London, 1st February 1851. She was the daughter of William Godwin, the author of Caleb Williams, &c., and became the second wife of Percy Bysshe Shelley. During their residence on the banks of the Lake of Geneva in 1816, Byron, Shelley, and Mrs.




There are really two main "dreams" in Mary Shelley's original Frankenstein novel: Victor Frankenstein's daydream about the grand future effects of his creating artifical life and the nightmare into which he falls after he recoils from his finished creature in revulsion and exhaustion. This second dream, quite complex, has become the subject of many interpretations, particularly in the twentieth century. Even so, I raise a number of questions that these previous readings have not answered and show how the rest of the essays in this collection respond to those in new and striking ways. In recounting the most influential existing interpretions, I also show how many profound cultural and psychological issues are raised by both of Victor's dreams, especially his nightmare about embracing his dead mother. As a result, the newer interpretations offered here address some major unresolved quandaries in the history of Western culture. Mainly through the work of my fellow contributor's, then, we collectively offer new insights about long-standing issues in the West: the relationship between sentimentality and sadism, the role and nature of parody in human creativity, the need for several radical repressions for the enforcement of a patriarchal society, and the parallels between dream-language and the movement between images in modern motion pictures. Because of the questions raised by these readings, as well as in Frankenstein's dream, these essays claim, we are thrown back on and must therefore confront the most basic ways in which Western self-representation has occured over the last several centuries.
July 2003


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