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<li><a href="/exhibition/frankenstein/exhibition0.html">Introduction</a></li><li><a href="/exhibition/frankenstein/exhibition1.html">The Birth of <i>Frankenstein</i></a></li><li><a href="/exhibition/frankenstein/exhibition2.html">An Extraordinary Life</a></li><li><a href="/exhibition/frankenstein/exhibition3.html">Boundary Crossing / 1818</a></li><li><a href="/exhibition/frankenstein/exhibition4.html">Transformation of a Monster</a></li><li><a href="/exhibition/frankenstein/exhibition5.html">Boundary Crossing / 1931</a></li>
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<h1><a href="/exhibition/frankenstein/index.html">Frankenstein: Penetrating the Secrets of Nature<img src="/exhibition/frankenstein/css/img/logo-sidebar.png" alt="Frankenstein: Penetrating the Secrets of Nature" /></a></h1>
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<li><a href="/exhibition/frankenstein/exhibition0.html">Introduction</a></li><li><a href="/exhibition/frankenstein/exhibition1.html">The Birth of <i>Frankenstein</i></a><ul style="display:none;"><li style="display:none;"><a href="/exhibition/frankenstein/exhibition1s0.html">Surrounded by Ice</a></li></ul></li><li><a href="/exhibition/frankenstein/exhibition2.html">An Extraordinary Life</a><ul style="display:none;"><li style="display:none;"><a href="/exhibition/frankenstein/exhibition2s0.html">Paradise Lost</a></li></ul></li><li><a href="/exhibition/frankenstein/exhibition3.html">Boundary Crossing / 1818</a><ul style="display:none;"><li style="display:none;"><a href="/exhibition/frankenstein/exhibition3s0.html">Midnight Labors</a></li></ul></li><li class="on"><a href="/exhibition/frankenstein/exhibition4.html">Transformation of a Monster</a><ul><li><a href="/exhibition/frankenstein/exhibition4s0.html">Poor, Helpless, Miserable Wretch</a></li></ul></li><li><a href="/exhibition/frankenstein/exhibition5.html">Boundary Crossing / 1931</a><ul style="display:none;"><li style="display:none;"><a href="/exhibition/frankenstein/exhibition5s0.html">Blasted Hopes</a></li></ul></li>
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<h2>From the <em>Digital Gallery</em></h2>
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<img src="img/dg_OB10949_Lg.jpg" alt="A man (Andreas Vesalius) stands in a cluttered room reaching for a scalpel, by a cadaver on a table." />
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<h3>Andreas Vesalius, 1848</h3>
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<h2>Exhibition<span>Transformation of a Monster</span></h2>
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<p>From its first appearance in 1818, Mary Shelley’s <em>Frankenstein</em> both fascinated and repelled audiences. Her story, moreover, attracted other creative artists, who freely adapted the novel for audiences in England, America, and Europe.</p>
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<p>The monster underwent a transformation. From a sensitive, reasoning, and articulate being whose crimes resulted from his mistreatment at the hands of humanity, the creature mutated into a grunting brute, whose violent and cruel nature could only be understood as the product of science daring to usurp the god-like power of creation.</p>
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<p>“Frankenstein” came to represent the monster as much as his maker.</p>
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<li data-transcript="popup5.html" data-enlarge="img/OB8049_Lg.jpg" ><div class="photo"><img src="img/OB8049_Lg.jpg" alt="Fate of Frankenstein listed on playbill among an evening’s performances at an English Opera House." /></div><h3>Playbill from <em>Presumption; or, The Fate of Frankenstein</em>, Opening night, July 28, 1823 </h3><h4>Courtesy Harvard Theater Collection, Houghton Library, Harvard University, bpf TCS 63 (English Opera House 1823–1826)</h4><div class="description"><p>In 1823, Mary Shelley learned from her father about a play called <em>Presumption; or, The Fate of Frankenstein</em>. The playbill advertised the “striking moral exhibited in this story,” namely, the “fatal consequence of that presumption, which attempts to penetrate, beyond prescribed depths, into the mysteries of nature.” Shelley’s novel and its complex story of human ambition and monstrous possibilities had begun a process of simplification (many characters were eliminated) and distortion (the monster becomes a speechless, remorseless killer) that would continue in the centuries to come.</p><ul class="nojs"><li><a href="img/OB8049_Lg.jpg">Enlarge Image</a></li><li><a href="popup5.html">Read Transcript</a></li></ul></div></li>
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<li data-transcript="popup6.html" data-enlarge="img/OB8050_Lg.jpg" ><div class="photo"><img src="img/OB8050_Lg.jpg" alt="Ethereal man in a tunic standing with outstretched arms over a man on the ground." /></div><h3>T. P. Cooke as the monster in <em>Presumption; or, The Fate of Frankenstein</em></h3><h4>Artist: Thomas Charles Wageman (ca. 1787—1863)</h4>
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<h4>Lithographer: Nathaniel Whittock (1791—1860)</h4>
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<h4>Courtesy The Carl H. Pforzheimer Collection of Shelly and His Circle, The New York Public Library, Astor, Lenox and Tilden Foundations</h4><div class="description"><p>The English actor Thomas Potter Cooke played the role of the monster in <em>Presumption</em>. His face was painted green, his lips were stained black, and he wore blue body paint.</p>
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<p>Mary Shelley attended a performance of <em>Presumption</em> on August 29, 1823. “The play bill amused me extremely,” she wrote to a friend, “for in the dramatis personae came, _____ by Mr. T. Cooke.” Mary Shelley had not given her monster a name; later, audiences would use the word Frankenstein to refer both to the monster and his maker.</p><ul class="nojs"><li><a href="img/OB8050_Lg.jpg">Enlarge Image</a></li><li><a href="popup6.html">Read Transcript</a></li></ul></div></li>
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<li data-transcript="popup7.html" data-enlarge="img/OB8051_Lg.jpg" ><div class="photo"><img src="img/OB8051_Lg.jpg" alt="Man surrounded by scientific instruments with a large dark figure in the shadows." /></div><h3>Scene from <em>Frankenstein; or, The Model Man</em>, January 12, 1850</h3><h4>Courtesy University of Massachusetts, Amherst</h4><div class="description"><p>By the mid-19th century, the popular Frankenstein melodrama had become a subject for parody as in the musical burlesque <em>Frankenstein; or, The Model Man</em>.</p><ul class="nojs"><li><a href="img/OB8051_Lg.jpg">Enlarge Image</a></li><li><a href="popup7.html">Read Transcript</a></li></ul></div></li>
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<li data-transcript="popup8.html" data-enlarge="img/OB8053_Lg.jpg" ><div class="photo"><img src="img/OB8053_Lg.jpg" alt="Hairy, muscular giant in mask and cape towers over kneeling man in coat and top hat." /></div><h3><em>The Irish Frankenstein</em> from <em>Punch</em>, 1882</h3><h4>Illustrator: John Tenniel (1820—1914)</h4>
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<h4>Courtesy Pennsylvania State University Libraries</h4><div class="description"><p>In the 19th century, the very word “Frankenstein” could be wielded to represent issues and people considered to be out of control. British illustrator John Tenniel depicted the Irish Nationalist leader Charles Stewart Parnell as the “Irish Frankenstein” for his support of Irish home rule. </p><ul class="nojs"><li><a href="img/OB8053_Lg.jpg">Enlarge Image</a></li><li><a href="popup8.html">Read Transcript</a></li></ul></div></li>
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<li data-video="https://archive.org/details/EdisonsFrankenstein1910WithSoundEffects" data-transcript="popup9.html" data-enlarge="img/OB8058_Lg.jpg" ><div class="photo"><img src="img/OB8058_Lg.jpg" alt="A monster with tattered clothes, unkempt hair, and deformed hands." /></div><h3><em>The Edison Kinetogram</em>, March 15, 1910</h3><h4>Courtesy US Department of the Interior, National Park Service, Edison National Historic Site</h4><div class="description"><p>Movies offered a new opportunity for the Frankenstein story to reach larger audiences in the early 20th century. The film company created by inventor Thomas Edison released the first cinematic version of Mary Shelley’s novel in 1910.</p>
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<p>The cover of this Edison publication features Charles Stanton Ogle in dramatic white make-up as the monster.</p>
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<p>The dismal failure of the film did not deter other filmmakers from taking up the Frankenstein story.</p><ul class="nojs"><li><a href="img/OB8058_Lg.jpg">Enlarge Image</a></li><li><a href="popup9.html">Read Transcript</a></li></ul></div></li>
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<li data-enlarge="img/OB8059_Lg.jpg" ><div class="photo"><img src="img/OB8059_Lg.jpg" alt="Deformed human monster stands behind rectangular wooden prop with open, bent arms." /></div><h3>Creation scene from <em>Frankenstein</em>, 1910 </h3><h4>Producer: Edison Manufacturing Company</h4>
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<h4>Courtesy Library of Congress</h4><div class="description"><p>Directed by J. Searle Dawley, the first cinematic Frankenstein monster was created out of a vat of chemicals, rather than by the electrical apparatus associated with later filmic monsters.</p><ul class="nojs"><li><a href="img/OB8059_Lg.jpg">Enlarge Image</a></li></ul></div></li>
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<div class="photo"><img src="img/OB8055_Lg.jpg" alt="Woman in hat and white dress stands beside a man kneeling on a leather chair in a room with mirror." /></div><h3>Film still from <em>Frankenstein</em>, 1910</h3><h4>Producer: Edison Manufacturing Company</h4>
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<h4>Courtesy Library of Congress</h4><div class="description"><p>In this scene from the 1910 Edison Films <em>Frankenstein</em>, the monster interrupts Dr Frankenstein and his fiancée.</p><ul class="nojs"><li><a href="img/OB8055_Lg.jpg">Enlarge Image</a></li><li><a href="carousel5.html">See Related Images</a></li></ul></div></li>
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<li data-transcript="popup10.html" data-carousel="carousel6.html">
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<div class="photo"><img src="img/OB8061_Lg.jpg" alt="Red, black, and yellow advertisement containing names and drawings of headlining actors in costume." /></div><h3>Poster for <em>Frankenstein</em>, 1931</h3><h4>Courtesy Universal Studios Licensing LLC</h4><div class="description"><p>In 1931, Universal Pictures gambled that American audiences would flock to “horror films.” A critical and commercial success, <em>Frankenstein</em> was named one of the top films of the year by <em>The New York Times</em>.</p><ul class="nojs"><li><a href="img/OB8061_Lg.jpg">Enlarge Image</a></li><li><a href="carousel6.html">See Related Images</a></li></ul></div></li>
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<li data-enlarge="img/OB8064_Lg.jpg" ><div class="photo"><img src="img/OB8064_Lg.jpg" alt="A man in suit looking at life-size mechanical man with electronic parts in its midsection" /></div><h3>Westinghouse Laboratories’ mechanical man “Televox,” 1928</h3><h4>Courtesy Westinghouse Electric Corporation </h4><div class="description">In the 1931 <em>Frankenstein</em> film, the monster was characterized by stilted, machine-like movements. To produce this effect, Boris Karloff wore a five-pound metal rod next to his spine. One inspiration for the mechanical motion of the movie monster may have been “Televox,” developed by Westinghouse engineers in the 1920s.<ul class="nojs"><li><a href="img/OB8064_Lg.jpg">Enlarge Image</a></li></ul></div></li>
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