De (autor) Ilustrat de Norman B. Saunders, Robert H. Webb, Ann Brewster
Notă GoodReads:
en Limba Engleză Carte Paperback – October 2009
Mary Shelley's gothic horror of Dr. Victor Frankenstein and his Monster. Classics Illustrated tells this wonderful tale in colorful comic strip form, providing an excellent introduction for younger readers. Also includes theme discussions and study questions.
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ISBN-13: 9781906814311
ISBN-10: 1906814317
Pagini: 48
Ilustrații: Fully Illustrated
Dimensiuni: 165 x 244 x 3 mm
Greutate: 0.14 kg
Ediția: Revised
Editura: Classics Illustrated Comics
Seriile CLASSICS ILLUSTRATED , Classics Illustrated

Locul publicării: United Kingdom

Notă biografică

The daughter of Mary Wollestonecraft, the ardent feminist and author of A Vindication on the Right of Women, and William Goodwin, the Radical-anarchist philosopher and author of Lives of the Necromancers, Mary Goodwin was born into a freethinking, revolutionary household in London on August 30,1797. Educated mainly by her intellectual surroundings, she had little formal schooling and at sixteen eloped with the young poet Percy Bysshe Shelly; they eventually married in 1816.

Mary Shelly’s life had many tragic elements. Her mother died giving birth to Mary; her half-sister committed suicide; Harriet Shelly–Percy’s wife dr5owned heself and her unborn child after he ran off with Mary’ William Goodwin disowned Mary and Shelly after the elopement, but–heavily in debt–recanted and came to them for money; Mary’s first child died soon after its birth; and in 1822 Percy Shelly drowned in the Gulf of La Spezia–when Mary was not quite twenty-five.

Mary Shelly recalled that her husband was “forever inciting” her to “obtain literary reputation.” But she did not begin to write seriously until the summer of 1816, when she and Shelly we in Switzerland, neighbor to Lord Byron. One night following a contest to compose ghost stories, Mary conceived her masterpeicve. Frankenstein. After Shelly’s death she continued to write Valperga (1823), The Last Man (1826), Ladore (1835), and Faulkner (1837), in addition to editing he husband’s works. In 1838 she began to work on his biography, but owing to poor health she completed only a fragment.

Although she received marriage proposals from Trelawney, John Howard Payne, and perhaps Washington Irving, Mary Shelly never remarried. “I want to be Mary Shelly on my tombstone,” she is reported to have said. She died on February 1, 1851, survived by he son, Percy Florence.


*Frankenstein: The Graphic Novel: Quick Text. ISBN 978-1-906332-50-1.
*Frankenstein: The Graphic Novel: Original Text. ISBN 978-1-906332-49-5.
illus. by Declan Shalvey.

While remaining true to the spirit of Shelley’s famous work, this adaptation allows readers to have it their way, savoring this horror classic with either the “Original Text,” or the “Quick Text,” a simplified abridgement. More than a straightforward retelling, this edition invites readers to explore important social issues such as alienation, the consequences and ethics of scientific studies, as well as the nature of creation and destruction. Rich and lustrous artwork remains the same in both versions. Bucolic mountainsides and charming villages are rendered in a classical European painting style. In stark contrast, horrific elements are depicted with grotesque angular figures in monochromatic tones. Excellent lettering enhances the narrative without distracting from the images. An especially nice feature is the use of boldface to highlight key words and phrases. A table of contents, based on the original three-volume edition, helps readers follow the story’s progression. Back matter includes a biography of Shelley, a description of the novel’s origin and history, and a clear description of comic-page creation for this remarkable edition. Reluctant readers who start with the “Quick Text” will probably be enticed to try the “Original Text” and continue to explore this exquisite rendition of a gothic classic.

—Barbara M. Moon, Suffolk Cooperative Library System, Bellport, NY
School Library Journal, May 2009




To Mrs. Saville, England St. Petersburgh, Dec. 11th, 17--

You will rejoice to hear that no disaster has accompanied the commencement of an enterprise which you have regarded with such evil forebodings. I arrived here yesterday; and my first task is to assure my dear sister of my welfare, and increasing confidence in the success of my undertaking.

I am already far north of London; and as I walk in the streets of Petersburgh, I feel a cold northern breeze play upon my cheeks, which braces my nerves, and fills me with delight. Do you understand this feeling? This breeze, which has travelled from the regions towards which I am advancing, gives me a foretaste of those icy climes. Inspirited by this wind of promise, my day dreams become more fervent and vivid. I try in vain to be persuaded that the pole is the seat of frost and desolation; it ever presents itself to my imagination as the region of beauty and delight. There, Margaret, the sun is for ever visible, its broad disk just skirting the horizon, and diffusing a perpetual splendour. There--for with your leave, my sister, I will put some trust in preceding navigators--there snow and frost are banished; and, sailing over a calm sea, we may be wafted to a land surpassing in wonders and in beauty every region hitherto discovered on the habitable globe. Its productions and features may be without example, as the phenomena of the heavenly bodies undoubtedly are in those undiscovered solitudes. What may not be expected in a country of eternal light? I may there discover the wondrous power which attracts the needle; and may regulate a thousand celestial observations, that require only this voyage to render their seeming eccentricities consistent for ever. I shall satiate my ardent curiosity with the sight of a part of the world never before visited, and may tread a land never before imprinted by the foot of man. These are my enticements, and they are sufficient to conquer all fear of danger or death, and to induce me to commence this laborious voyage with the joy a child feels when he embarks in a little boat, with his holiday mates, on an expedition of discovery up his native river. But, supposing all these conjectures to be false, you cannot contest the inestimable benefit which I shall confer on all mankind to the last generation, by discovering a passage near the pole to those countries, to reach which at present so many months are requisite; or by ascertaining the secret of the magnet, which, if at all possible, can only be effected by an undertaking such as mine.

These reflections have dispelled the agitation with which I began my letter, and I feel my heart glow with an enthusiasm which elevates me to heaven; for nothing contributes so much to tranquillize the mind as a steady purpose--a point on which the soul may fix its intellectual eye. This expedition has been the favourite dream of my early years. I have read with ardour the accounts of the various voyages which have been made in the prospect of arriving at the North Pacific Ocean through the seas which surround the pole. You may remember that a history of all the voyages made for purposes of discovery composed the whole of our good uncle Thomas's library. My education was neglected, yet I was passionately fond of reading. These volumes were my study day and night, and my familiarity with them increased that regret which I had felt, as a child, on learning that my father's dying injunction had forbidden my uncle to allow me to embark in a seafaring life.

These visions faded when I perused, for the first time, those poets whose effusions, entranced my soul, and lifted it to heaven. I also became a poet, and for one year lived in a Paradise of my own creation; I imagined that I also might obtain a niche in the temple where the names of Homer and Shakespeare are consecrated. You are well acquainted with my failure, and how heavily I bore the disappointment. But just at that time I inherited the fortune of my cousin, and my thoughts were turned into the channel of their earlier bent.

Six years have passed since I resolved on my present undertaking. I can, even now, remember the hour from which I dedicated myself to this great enterprise. I commenced by inuring my body to hardship. I accompanied the whale-fishers on several expeditions to the North Sea; I voluntarily endured cold, famine, thirst, and want of sleep; I often worked harder than the common sailors during the day, and devoted my nights to the study of mathematics, the theory of medicine, and those branches of physical science from which a naval adventure might derive the greatest practical advantage. Twice I actually hired myself as an under-mate in a Greenland whaler, and acquitted myself to admiration. I must own I felt a little proud, when my captain offered me the second dignity in the vessel and intreated me to remain with the greatest earnestness so valuable did he consider my services.

And now, dear Margaret, do I not deserve to accomplish some great purpose? My life might have been passed in ease and luxury; but I preferred glory to every enticement that wealth placed in my path. Oh, that some encouraging voice would answer in the affirmative! My courage and my resolution is firm; but my hopes fluctuate, and my spirits are often depressed. I am about to proceed on a long and difficult voyage, the emergencies of which will demand all my fortitude: I am required not only to raise the spirits of others, but sometimes to sustain my own, when theirs are failing.

This is the most favourable period for travelling in Russia. They fly quickly over the snow in their sledges; the motion is pleasant, and, in my opinion, far more agreeable than that of an English stage-coach. The cold is not excessive, if you are wrapped in furs--a dress which I have already adopted; for there is a great difference between walking the deck and remaining seated motionless for hours, when no exercise prevents the blood from actually freezing in your veins. I have no ambition to lose my life on the post-road between St Petersburgh and Archangel.

I shall depart for the latter town in a fortnight or three weeks; and my intention is to hire a ship there, which can easily be done by paying the insurance for the owner, and to engage as many sailors as I think necessary among those who are accustomed to the whale-fishing. I do not intend to sail until the month of June; and when shall I return? Ah, dear sister, how can I answer this question? If I succeed, many, many months, perhaps years, will pass before you and I may meet. If I fail, you will see me again soon, or never.

Farewell, my dear, excellent Margaret. Heaven shower down blessings on you, and save me, that I may again and again testify my gratitude for all your love and kindness.

Your affectionate brother, R. Walton

From the Hardcover edition.

Textul de pe ultima copertă

Nearly 200 years ago, a teenager dreamt of a scientist who experimented with restoring life to the dead. Encouraged by her literary-minded friends, she expanded her fantasy into a gripping story that became the epitome of the Gothic novel. Mary Shelley'ssuspenseful narrative of a misbegotten monster's revenge resounds with compelling questions about ambition, responsibility, and other issues that continue to enthrall modern readers.Acclaimed as both the first modern horror novel and the first science-fiction novel, Frankenstein has inspired numerous interpretations. This magnificently illustrated edition features the complete wood engravings by graphic artist Lynd Ward. A master of woodcut technique, Ward combined elements ofArt Deco and German Expressionism in his images.His unusual perspectives and dramatic light-and-dark contrasts offer the perfect complement to Shelley's moody masterpiece.
Dover (2009) unabridged republication of the edition published by Harrison Smith and Robert Haas, New York, 1934.See every Dover book in print at"


List of Illustrations   
About Longman Cultural Editions   
About This Edition   
Table of Dates   
Frankenstein; or, The Modern Prometheus (1818)   
            Volume I   
            Volume II   
            Volume III   
from Frankenstein: or, The Modern Prometheus (1831)   
            M. W. S.’s Introduction   
            Some Additions to Robert Walton’s first letters   
            Some Additions and Revisions to Victor Frankenstein’s Narrative   
                        Victor’s childhood and the adoption of Elizabeth–Victor’s enchantment with occult science and his encounter with modern science–Victor’s departure for University of ­Ingolstadt–Clerval’s straits–Victor meets Professors Krempe and Waldman–Victor’s health suffers–Elizabeth’s report on Ernest Frankenstein–Clerval’s lament for William–Victor’s anguish over Justine and William–­Victor’s continuing agony–[Creature’s story of framing Justine]–Victor’s plans for a second creature–Clerval’s imperial ambitions–Victor’s apprehensions for his family, his longing for oblivion–Victor’s secret
Monsters, Visionaries, and Mary Shelley    
Aesthetic Adventures    
Edmund Burke on “the Sublime and the Beautiful”    
Mary Wollstonecraft on Burke’s genderings    
William Gilpin on “the Picturesque”    
Samuel Taylor Coleridge, from The Rime of the Ancyent Marinere (1798)    
Mary Wollstonecraft, from Maria, or The Wrongs of Woman: Jemima’s story    
Mary Godwin (Shelley), from her journal of 1815: the death of her first baby    
Percy Bysshe Shelley, from Alasto; or, The Spirit of Solitude    
Mary Shelley, with Percy Bysshe Shelley, from History of a Six Weeks’ Tour: Alpine scenery    
Percy Bysshe Shelley, Mont Blanc    
George Gordon, Lord Byron    
            from Manfred, A Dramatic Poem    
            from Childe Harold’s Pilgrimage, Canto the Third: Alpine thunderstorm    
Leigh Hunt, from Blue-Stocking Revels, or The Feast of the Violets    
Dr. Benjamin Spock, from Baby and Child Care    
The Story-Telling Compact   
George Gordon, Lord Byron, A Fragment    
John William Polidori, The Vampyre    
God, Adam, and Satan   
Genesis: chapters 2 and 3 (King James Bible)  
John Milton, from Paradise Lost    
William Godwin, from Political Justice  
George Gordon, Lord Byron, Prometheus   
William Hazlitt, remarks on Satan, from Lectures on the
English Poet    
Percy Bysshe Shelley
            from Prometheus Unbound    
            from A Defence of Poetry    
Richard Brinsley Peake, Frankenstein, A Romantic Drama in Three Acts   
Reviews and Reactions   
            [John Wilson Croker], Quarterly Review, January 1818    
            [Walter Scott], Blackwood’s Edinburgh Review, March 1818    
            (Scot’s) Edinburgh Magazine and Literary Miscellany, March 1818    
            Belle Assemblée, March 1818    
            British Critic, April 1818    
            Gentleman’s Magazine, April 1818    
            Monthly Review, April 1818    
            Literary Panorama, June 1818    
            Blackwood’s Edinburgh Magazine, March 1823    
            London Morning Post, reviews of Peake’s Frankenstein, July 1823    
            George Canning, remarks in Parliament, March 1824    
            Knight’s Quarterly Magazine, August 1824    
            London Literary Gazette, 1831    
            [Percy Bysshe Shelley, posthumous], Anthenæum, November 1832    
            Frankentalk: “Frankenstein” in the Popular Press of Today            
Further Reading and Viewing      


  • Contains the complete 1818 edition of Mary Shelley's Frankenstein, with a provocative introduction to Mary Shelley and her novel, and helpful footnotes that identify sources, references, and allusions.
  • A sample of the 1831 revision, the adoption of Elizabeth Lavenza by the Frankensteins, provides a contrast to the rejected creature, replete with overtones of racial thinking and class prejudice.
  • Table of dates presents Mary Shelley's life and the development of Frankenstein in relation to key historical events and publications during the age.
  • Texts from Shelley's Romantic contemporaries in the section on "Monsters, Visionaries and Mary Shelley" provide the contexts for allusions, references, and collateral productions, such as Coleridge's Ancient Mariner, Wollstonecraft's Story of Jemima from Maria, Mary Shelley's journal entry on the death of her baby, Percy Shelley's poetry, Byron's poetry, and Dr. Spock on "Baby and Child Care."
  • Selections from 14 contemporary reviews of the 1818 novel, including those by Sir Walter Scott and Percy Shelley, reveal the reviewers' shock and the popularly held belief that "only a man could write this novel.”
  • An entire section on the connection between Frankenstein and Milton's Paradise Lost in "Milton's Satan and Romantic Imaginations" demonstrates the complex references to Milton's work throughout the novel. The selections include Paradise Lost and the chapter in Genesis (1-2) from the Old Testament, along with Shelley's contemporary Romantics on Satan: Godwin, Byron, Keats, Hazlitt, Percy Shelley, and DeQuincey.
  • An extensive bibliography provides direction for further reading, including the history of stage and cinematic interpretations.

Caracteristici noi

  • "Frankentalk," a unit on the durability of Frankenstein in the popular press, discusses everything from national budgets and genetic engineering to cuisine and fashion statements.
  • Containsthe complete text ofRichard Brinsley Peake’s Frankenstein, A Romantic Drama, the first stage version of Frankenstein in 1823.
  • New selections in "The Story-Telling Compact" focus on the ghost-story, featuring Byron’s A Fragment and Polidori’s The Vampyre , which inspired Bram Stoker’s Dracula.