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make frogs’ legs twitch. Galvani’s nephew Giovanni Aldini would go further in 1803, using a newly-dead murderer as his subject. Many of the doctors and thinkers at the heart of these debates – such as the chemist Sir Humphry Davy – were connected to Mary’s father, the pre-eminent intellectual William Godwin, who himself had developed principles warning of the dangers and moral implications of ‘overreaching’.

Despite these nuggets of contemporary thought, though, there’s little in the way of tangible theory, method, or scientific paraphernalia in

Frankenstein. The climactic moment of creation is described simply: “With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet.” The ‘science’ of the book is rooted in its time and yet timeless. It is so vague, therefore, as to provide an immediate linguistic and visual

reference point for moments of great change and fear.

Monster mash-up

But surely the reason we turn to Frankenstein when expressing an anxiety about science is down to the impression the ‘monster’ and ‘mad scientist’ have had on our collective brains. How did this happen? Just as the science is vague in the book, so is the description of the creature as he comes to life. The moment is distilled into a single, bloodcurdling image:

“It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.”

Theodore von Holst\'s illustration shows the terrifying moment the creature comes to life (Credit: Alamy)

It’s a double-edged sword that Hollywood’s vision secured the story’s longevity but obscured Mary’s version of it

With his ‘yellow skin’, ‘watery eyes’, ‘shrivelled complexion’ and ‘straight black lips’ the creature is far from the beautiful ideal Frankenstein intended. This spare but resonant prose proved irresistible to theatre and later film-makers and their audiences, as Christopher Frayling notes in his book, Frankenstein: The First Two Hundred Years. The shocking novel became a

scandalous play – and of course, a huge hit, first in Britain and then abroad. These early plays, Frayling argues, “set the tone for future dramatisations”. They condensed the story into basic archetypes, adding many of the most memorable elements audiences would recognise today, including the comical lab assistant, the line “It lives!” and a bad-brained monster who doesn’t speak.

James Whale’s 1931 film for Universal Pictures starred Boris Karloff as the creature (Credit: Alamy)

It’s a double-edged sword that the monstrous success of Hollywood’s vision (James Whale’s

1931 film for Universal starring Boris Karloff as the creature) in many ways secured the story’s longevity but obscured Mary’s version of it. “Frankenstein [the film] created the definitive movie image of the mad scientist, and in the process launched a thousand imitations,” Frayling writes. “It fused a domesticated form of Expressionism, overacting, an irreverent adaptation of an acknowledged classic, European actors and visualisers – and the American carnival tradition – to create an American genre. It began to look as though Hollywood had actually invented Frankenstein.” Making a myth

And so, a movie legend was born. Although Hollywood may have cherry-picked from Mary Shelley to cement its version of the story, it’s clear she also borrowed from historical myths to create her own. The subtitle of Frankenstein, ‘The Modern Prometheus’, namechecks the figure of ancient Greek and Latin mythology who

variously steals fire from the gods and gives it to man (or makes a man out of clay) and

represents the dangers of overreaching. But the other great myth of the novel is of God and Adam, and a quote from Paradise Lost appears in the epigraph to Frankenstein: “Did I request thee, Maker, from my clay / To mould me man?”. And it is above all the creature’s tragedy – and his humanity – that in his cinematic

transformation into a mute but terrifying monster, has been forgotten.

The creature’s humanity – and his tragedy – are often forgotten in the story’s trajectory (Credit: Alamy)

Mary gave him a voice and a literary education in order to express his thoughts and desires (he is one of three narrators in the book). Like The Tempest’s Caliban, to whom Shakespeare gives a poetic and poignant speech, the creature’s lament is haunting: “Remember that I am thy creature; I ought to be thy Adam, but I am rather the fallen angel, whom thou drivest from joy for no misdeed. Everywhere I see bliss, from which I alone am irrevocably excluded. I was benevolent and good; misery made me a fiend. Make me happy, and I shall again be virtuous.”

As an allegory of our responsibility to children, outsiders, or those who don’t conform to conventional ideals of beauty, there isn’t a stronger one

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