The Last Man

Includes HTML, ASCII, and SGML versions, other works by Mary Shelley, works and excerpts from works cited by Shelley, bibliography, maps, images & sound files, critical essays, contemporary works on plague, notes.

Note: Scotland

October, 1997


In the introduction to the 1831 edition of Frankenstein, Mary Shelley writes,

I lived principally in the country as a girl, and passed a considerable time in Scotland. I made occasional visits to the more picturesque parts; but my habitual residence was on the blank and dreary northern shors of the Tay, near Dundee. Blank and dreary on retrospection I call them; they were not so to me then. They were the eyry of freedom.

Map of England


Note: Canals, etc.

October, 1997

Raymond's technological and engineering improvements, here, described as "schemes" and "projects," invoke Godwinian notions of human perfectibility, Napoleonic empire-building, and--finally--Frankensteinian faith in science. Notice that, by the end of the sentence, such schemes are compared to the exotic fantasies of the Arabian Nights.


Note: Guido's saints

October, 1997

("Guido's saints")

Guido Reni (1575-1642) was a favorite painter of the Shelleys. In the Preface to his tragedy, The Cenci ( Reiman and Powers edn.), Percy Shelley describes at length a famous portrait of Beatrice Cenci he (and Mary) had seen at the Colonna Palace, a painting then (erroneously) attributed to Guido: "the lips have that permanent meaning of imagination and sensibility which suffering has not repressed and which it seems as if death scarcely could extinguish."



Subscribe to RSS - The Last Man