When Mary Shelley published her debut novel in 1818, nobody
knew it was hers. The first edition was published anonymously, leaving
reviewers free to speculate; though no attempts seem to have been made to name
an author, some reviews came close.
“It is formed on the
Godwinian manner, and has all the faults, but many likewise of the beauties of
that model.” (The Edinburgh Magazine)
“It is piously
dedicated to William Godwin, and written in the spirit of his school.” (The
Quarterly Review)
Comparisons of Mary’s novel with those of her father William
Godwin are clearly warranted, although another school of thought suggested that
it could be Percy Shelley’s work. The
use of Godwin’s tropes and themes was less important, however, than the
revolutionary politics he shared with his daughter, and the potential threat
they posed was keenly felt by more conservative voices.
This was an even
greater concern given that the book became commercially successful very
quickly: it was translated into French as early as 1821 and popularised through
a range of melodramatic dramatic adaptations from the likes of Richard Brinsley
Peake. Anxiety about the dangerous influence of the novel on the young and
vulnerable, especially in light of its apparent moral ambivalence, is tangible
in nearly every surviving review from this period.
Nonetheless, the reviews do generally tend to acknowledge
the author’s considerable “original genius and happy power of expression” (Sir
Walter Scott), suggesting grudging respect for an aesthetic talent coupled with
disquietingly radical attitudes. In fact, the initial reception of Frankenstein
was mixed, ranging from outrage and disgust to fascination and qualified
praise.
Once the author’s name was released, however, the tone of her
critics quickly shifted. Her colourful private life may have been enough of a
deterrent to certain groups in society, but above all, readers were driven by
the view of politics as a man’s subject. Though Mary was tellingly often
credited with a “masculine mind”, commentators treated Frankenstein (as they would her later novels) as a ‘romance’ if,
indeed, they heeded it at all:
“The writer of it is, we understand, a female; this is an
aggravation of that which is the prevailing fault of the novel; but if our authoress
can forget the gentleness of her sex, it is no reason why we should; and we
shall therefore dismiss the novel without further comment." (The British Critic)
A great number of critics followed suit. Despite the success of
the small print run of the 1823 edition, the bestseller was ignored by many
intellectuals for years. Even the 1831 edition, which had undergone several
revisions and finally gained a mass audience, did little to cure this, and the
lack of new editions in the following five decades meant that Frankenstein was studied relatively
little and valued less. Like so many groundbreaking artists, Mary saw her work
met by critics unequipped to judge it.
Around the same time, Mary’s life was becoming even more
difficult. Relations with her husband had always fluctuated wildly, but she was
left devastated when she suffered another miscarriage in 1822 and, weeks later,
Percy drowned off the coast of Italy just before his thirtieth birthday. After
a year with friends in Genoa, she returned to England and devoted her life to
her surviving son, Percy Florence, and a career as a professional author. Much
of her life was spent in terse discussions with Percy’s father, Sir Timothy,
over the allowance he granted her for his grandson’s upkeep; continuing to
write novels and short stories; and in editing and promoting her husband’s
poems, assuring the literary appreciation he had largely been denied in life.
She never remarried. By the time she died of a suspected brain tumour in 1851
she was a respected author, but predominantly for her later work.
Frankenstein
was,
however, as alive as its central Creature. Stage adaptations continued, and the
characters remained in the public consciousness though the novel was out of
circulation. Perhaps this is why its resurgence was so strong: only in the
1880s, when it had come out of its original copyright conditions and the
benefits of mass literacy were beginning to appear, that Frankenstein found a
truly huge readership. The first reprint sold more than all the previous
editions combined, and from that point it grew into the global phenomenon that
has had such impact on the modern world.
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Be nice. Gingers suffer enough.