#1818 vs 1831

[vickyvicarious]

Elizabeth had caught the scarlet fever; but her illness was not severe, and she quickly recovered. During her confinement, many arguments had been urged to persuade my mother to refrain from attending upon her. She had, at first, yielded to our entreaties; but when she heard that her favourite was recovering, she could no longer debar herself from her society, and entered her chamber long before the danger of infection was past. The consequences of this imprudence were fatal. 

1818

Elizabeth had caught the scarlet fever; her illness was severe, and she was in the greatest danger. During her confinement, many arguments had been urged to persuade my mother to refrain from attending upon her. She had, at first, yielded to our entreaties; but when she heard that the life of her favourite was menaced, she could no longer control her anxiety. She attended her sickbed—her watchful attentions triumphed over the malignity of the distemper—Elizabeth was saved, but the consequences of this imprudent were fatal to her preserver.

1831

I own a copy of 1831 edition, so I have been reading both in concert and comparing them as we go along. This is such an interesting detail to change. By making Elizabeth's illness life-threatening, Mrs. Frankenstein's foolishness is transformed into a virtue, and she's even given credit for saving Elizabeth's life. In contrast, in the original she just refused to listen when told it wasn't safe yet to keep her company.

I wonder if this is meant to make the expectation she establishes for the two to marry into a more noble idea as well. Perhaps her dying wish should hold more weight if she has all but sacrificed her own life to save Elizabeth's out of love... maybe it's meant to show how devoted to them she is and thus imply that she knows they will suit one another perfectly, thus they must be a good match?

Regardless, the editing removing the nuance of Victor's flawed family is such an interesting choice to me.

[ceaseless-bitcher]

Hamilton-style musical of rendition of Robert Smirke’s crew and the fallout between himself, Jonah Magnus, and the rest of them.

Ambitious Scottish upstart Jonah Magnus, plunging into the scene of higher society and academia

Interpersonal drama in the esoteric research and philosophy sphere

A power ballad aria from Smirke as he describes his grand, utopian plans for balance

Jonah seeing the wonders of this new world and getting increasingly involved in it, probably getting in some heated theoretical debates with Rayner et al. about it because, being Beholding- and Dark-aligned, their fundamental views would be diametrically opposed

A slowly-shifting musical motif for Jonah as his intentions develop over the course of the play

Barnabas pleading with Jonah through his letter; they’re in separate parts of the stage with different lightings and they can’t see each other. Jonah is reading, rather than listening to, his words

SPOTLIGHTS REMINISCENT OF EYES

Harrowing solo as Jonah sinks deeper into fearing the possibility of rituals

More below the cut because I’m going nuts about this.

I would feel like there’s too much ground to cover (c. 1809 [estimated year Jonah gets introduced to the Fears if he established the Institute in 1818 and talked Smirke into working on Millbank 1815-1821] all the way to 1867 [year of Smirke’s death and the final decommissioning of Millbank: the year in which I place Jonah’s first attempt at the Watcher’s Crown]) if it weren’t for the several decades covered in Hamilton. It provides a pretty good guide for such a varied timeline.

More insane scenes:

Contrast of Albrecht Von Closen’s 1816 letter informing Jonah of his findings at his nephew’s estate vs Dr. Johnathan Fanshawe’s 1831 letter revealing how Jonah knowingly caused Von Closen’s death by stealing his books and got him filled with eyes

Smirke watching the group he formed fall to the Fears in turn, clinging to his alliance with Jonah and therefore being blind to his own turn towards Beholding

Jonah’s financial wheedling with Mordechai Lukas and other donors for his fledgling Institute

Jonah being so gleeful about his brand new Magnus Institute in Edinburgh, after several years of compiling statements informally

HE GETS TO DELIGHT IN ALL THE SCHEDULING AND LOGISTICS!!!

Just. all the letters we have record of. I haven’t even gotten to Dr. Algernon Moss or the conflict between George Gilbert Scott and Sampson Kempthorne

PETTY architecture drama

[dross-the-fish]

Do you have a preference on 1818 vs 1831 frankenstein?

I don't really have a preference, for the most part they aren't THAT different. I do prefer the handling of Elizabeth of the 1818 version. She felt more like a person and less like an angelic archetype. I feel like the 1831 version tries to make everyone a little more sympathetic but kind of does Elizabeth dirty by removing a lot of her character traits. I have to confess the reason I tend to depict Elizabeth as blond with blue eyes (1831) vs auburn hair and brown eyes (1818) in my AU is because I don't like to kill the more human and relatable 1818 version of her. I mean obviously in narrative both deaths are equally devastating to the characters but as a writer it's less painful to kill 1831 Elizabeth.

[crowleys-pink-tutu]

today i totally geeked out to my professor over the 1818 vs 1831 versions of frankenstein and i was worried i embarrassed myself by being too excited but then i remember that she literally begged the university to let her teach the class and she came in on the first day wearing a star trek shirt and star wars earrings and both her car and her cat have star wars names.

so… yeah, i think i’m okay.

[frankenstein-assistant]

When you read Frankenstein -- was it in high school? college? on your own? Did you use a Norton Critical edition of the book, or a Penguin Classic?

If you can't remember what your book looked like, think back to the plot. Was Victor Frankenstein's love interest Elizabeth his cousin, or was she a problematically-adopted orphan? Did Victor Frankenstein seem pretty level-headed, or did he whine incessantly about Destiny with a capital "D"? These questions can help you identify if you've read Mary Shelley's original 1818 text, or, her later edited and re-released edition in 1831.

Though the changes may not be as bad as George Lucas's 2000 additions to Star Wars, they are significant, and fascinating when put in conversation with Mary Shelley's biography and the larger literary culture surrounding her famous book. In this lecture for the UCR FrankenBlog, I tell all in "A Tale of Two Frankensteins."

[eroto-thanatos]

A first edition of Frankenstein from 1818 vs. a later edition revised and updated by Mary Shelley in 1831. #frankenstein #themodernprometheus #maryshelley #marygodwin #horrorhistory #gothichorror #speculativefiction #itsalivefrankensteinat200 (at The Morgan Library & Museum) https://www.instagram.com/p/BtZRJRKlmNH/?utm_source=ig_tumblr_share&igshid=18rfa4i9qw8gf

[thedrawingduke]

frankenstein, 1818 or 1831? I believe I read the latter, and I feel like I've missed out on key facts and themes by doing so! I've been looking for a Frankenstein book for so long (i will never satisfied) and now I've got another tough decision to make (maybe Im being dramatic and overcomplicated haha!). also, thoughts on bernie wrightson's illustrations? thanks for answering my millions of questions!

Why not both? The Vintage Classics edition  has both the unedited 1818 (and I do mean...unedited, lots of spelling mistakes haha) and 1831 edition of Frankenstein. And it’s pretty!  All in all, not as many key facts missing between the two--the differences are mostly in the characterization of Victor and The Creature. Percy Shelley wanted a more Byronic hero in Victor vs. a more animalistic/demonic Creature. Also, Percy added like 23984723 extra words because he could, I guess. (This is all really ironic considering that Victor is low-key based off of Percy, so of corpse he had to make his analog look better/more moody, HA).

There are volunteer-read audiobooks of both the 1818 and 1831 versions on youtube and librivox, so I’d definitely check those out if you want to test out which Frankenstein to go for! 1831 is the most common edition, though. So chances are you’ve read that version. 

Ok, I’m taking too long to answer this question BUT, warning, avoid abridged Frankenstein books! They are so confusing and completely cut out a pretty vital subplot (i.e., the Creature’s main motivation for wanting a female creature) *face-palm*

Bernie Wrightson! I just discovered his Frankenstein work in the last year or so. I read about half of Frankenstein Alive Alive (which was his sequel to Frankenstein) and it was very pretty but very...peculiar (Creature exists in same universe as Karloff Creature?? He is immortal?). The Creature characterization was pretty neat and his meta conversations with his conscious/Victor were awesome and pretty true to the character, I think. I definitely prefer his illustration work and I am trying to get my hands on a copy of his illustrated Frankenstein.

[vickyvicarious]

The following morning the rain poured down in torrents, and thick mists hid the summits of the mountains. I rose early, but felt unusually melancholy. The rain depressed me; my old feelings recurred, and I was miserable. I knew how disappointed my father would be at this sudden change, and I wished to avoid him until I had recovered myself so far as to be enabled to conceal those feelings that overpowered me. I knew that they would remain that day at the inn; and as I had ever inured myself to rain, moisture, and cold, I resolved to go alone to the summit of Montanvert.

1818

Where had they fled when the next morning I awoke? All of soul-inspiring fled with sleep, and dark melancholy clouded every thought. The rain was pouring in torrents, and thick mists hid the summits of the mountains, so that I even saw not the faces of those mighty friends. Still I would penetrate their misty veil, and seek them in their cloudy retreats. What were rain and storm to me? My mule was brought to the door, and I resolved to ascend to the summit of Montanvert.

1831

By removing the context of Victor's family being with him, the reasoning for his decision to climb the mountain is necessarily changed in 1831. In the original, Victor's lapse back into depression fills him with a dread at his father's reaction. He knows he will be letting him down again, and so his trip up the mountain is a deliberate avoidance of his family, and by extension his duties to them. This makes for some very poignant echoes in his confrontation with the Creature, who almost immediately takes Victor to task for not living up to his familial duties:

Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and the rest of mankind.

The Creature speaks in a way as a son castigating Victor for failing as a father; meanwhile Victor is already up here because he sees himself/knows his father would see him as failing as a son. This echo really ties in themes of the strained familial relations and duties he fails to fulfill, and how they relate to him and the Creature. He was avoiding his family and especially his father's disappointment/not handling his grief over his mother well when he first made the Creature. Now he is again avoiding his family and especially his father's disappointment/not handling his grief over his brother and Justine well, when he meets the Creature in person for the first time.

By the end of their confrontation, Victor seems to feel a little uncertain about his swift judgement of the Creature based on no evidence. However it also seems like a certain sense of familial responsibility takes hold ("For the first time, also, I felt what the duties of a creator towards his creature were"), showing just how strong an effect the linkage of the Creature and Alphonse's words had.

Of course, in 1831, that context is lacking. Victor chooses to climb the mountain almost as a challenge towards nature, or perhaps to his own feelings of misery. He decides to master the elements to an extent, to seek out the 'friends' currently hidden to him by the mist. An interesting word choice given that he has deliberately left his entire family behind to come on this entire trip alone, thus fully isolating himself from actual human friends. And while pretty much nothing is changed in the conversation with the Creature, this difference once again strips away the complexity of Victor's family life. If I had to pick a prevailing theme to the changes thus far, that would absolutely be it. Victor's family is shown as far less flawed, and I really think it's to the detriment of the story.

[vickyvicarious]

It was in the latter end of August that I departed, to pass two years of exile. Elizabeth approved of the reasons of my departure, and only regretted that she had not the same opportunities of enlarging her experience, and cultivating her understanding. She wept, however, as she bade me farewell, and entreated me to return happy and tranquil. "We all," said she, "depend upon you; and if you are miserable, what must be our feelings?"

1818

It was in the latter end of September that I again quitted my native country. My journey had been my own suggestion, and Elizabeth, therefore, acquiesced: but she was filled with disquiet at the idea of my suffering, away from her, the inroads of misery and grief. It had been her care which provided me a companion in Clerval—and yet a man is blind to a thousand minute circumstances, which call forth a woman's sedulous attention. She longed to bid me hasten my return,—a thousand conflicting emotions rendered her mute as she bade me a tearful silent farewell.

1831

One last comparison from today's chapter - and it's another 'let's remove nuance from Elizabeth to make her more of a caring/supportive woman figure' change!

In 1818, when Victor leaves, she thinks he has a good idea (remember his reasoning was to see more of the world before settling down to married life) and wishes she could do the same. A small moment, but one that ties into feminist themes regarding the difference between treatment of/expectations for men and women. This also reminds me of Safie and Felix; she was quite well traveled, but when moving about under her own power could only go straight to seek a man who would offer her refuge. She also needed to be taught by Felix, including geography which definitely struck me as pretty condescending given her background and a clunky way of ensuring the Creature would know where he was going. Finally, Elizabeth ends by crying and worrying about Victor, leaving him on a question. Not only does that emphasize the uncertainty surrounding his own actions, and even the entire narrative of the novel - it also is phrased in a way to exacerbate his feelings of responsibility towards his family. And of course, thus his failures to meet said responsibilities. If he is miserable, what must be their feelings = their feelings depend upon him, and his failure to be happy/finish things with the Creature manifestly makes life worse for them. Not that I'm saying Elizabeth is intending anything but to express concern, but the way she does so ties in well with ongoing themes and weights on Victor's mind.

In 1831, Elizabeth's reaction is changed dramatically. It might not seem so at first, given that she worries about him in both versions, but let me explain. Rather than considering his reasoning and deeming it worthwhile, this Elizabeth simply agrees to the trip because Victor chose it himself. In 1818 Victor that would have been more of a sign of him coming out of his shell and taking charge or his own life, but since 1831 Victor has already been more consistently doing so, this reaction doesn't read that way. Instead it gives a more passive "well, I trust you, dear" kind of meek wife vibe to me. Similarly, this Elizabeth doesn't spare a single thought for her own desires outside of worrying for Victor; in losing that we lose the feminist angle. She is worried about him suffering away from her, and so provides him another companion, but even then worries because Clerval as a man could never be as dedicated to Victor's needs as she is as a woman. Elizabeth has nothing on her mind but taking care of Victor. She still cried this time, but instead of asking Victor to take care of himself, she instead begs him to return to her soon. This also emphasizes the romantic relationship between them, especially given that in 1818 she doesn't seem to mind him being gone multiple years, while in 1831 she's much more concerned about a trip planned to be less than a year. Finally, by losing Elizabeth's parting question we not only lose how it ties into all those themes of family/duty/failure... she also is literally silenced. She doesn't get a speaking line at all, doesn't get to wish she could travel too, doesn't do anything but worry over Victor and hope he comes home soon.

Not huge changes to the text, but I think it's a pretty decent impact on Elizabeth's character.

[vickyvicarious]

But I am a blasted tree; the bolt has entered my soul; and I felt then that I should survive to exhibit, what I shall soon cease to be—a miserable spectacle of wrecked humanity, pitiable to others, and abhorrent to myself.

1818

But I am a blasted tree; the bolt has entered my soul; and I felt then that I should survive to exhibit, what I shall soon cease to be—a miserable spectacle of wrecked humanity, pitiable to others, and intolerable to myself.

1831

I kind of like the distinction here; in 1818 Victor is abhorrent to himself. In other words, disgusting and hateful, inspiring loathing, something you want to reject. In 1831, intolerable means more he can't endure it, can't stand it. I just like how it goes along with his general personality in each. Something can be abhorrent but still stay around. It's more a statement of emotion. When people say something is intolerable, it feels like more of a call to action. (But in both versions, despite what he said about wanting to take care of this right away, Victor delayed for a long time before beginning this horrid work. 1818 Victor's avoidance is more expected, but 1831 Victor still couldn't bring himself to do anything for a good while.)

I also love the comparison to a 'blasted tree'. I know there is no outright confirmation of lightning being a key element of giving the Creature life in the book, but I can absolutely see why it became so prevalent. Not only does it often shows up when the Creature does, or just before, there's more significance to it than just a good dramatic/spooky atmosphere. As the annotations pointed out, it calls back to that early scene (in general but especially right here):

When I was about fifteen years old, we had retired to our house near Belrive, when we witnessed a most violent and terrible thunder-storm. It advanced from behind the mountains of Jura; and the thunder burst at once with frightful loudness from various quarters of the heavens. I remained, while the storm lasted, watching its progress with curiosity and delight. As I stood at the door, on a sudden I beheld a stream of fire issue from an old and beautiful oak, which stood about twenty yards from our house; and so soon as the dazzling light vanished, the oak had disappeared, and nothing remained but a blasted stump. When we visited it the next morning, we found the tree shattered in a singular manner. It was not splintered by the shock, but entirely reduced to thin ribbands of wood. I never beheld anything so utterly destroyed.

Young Victor asks his father what did this and then learns about electricity and other more 'modern sciences' compared to his alchemy and demon-summoning texts. But here we see that, far from mastering such awesome powers, Victor himself has become like that tree destroyed by lightning. The forces he was attempting to control instead have overpowered him.

[vickyvicarious]

But in Clerval I saw the image of my former self; he was inquisitive, and anxious to gain experience and instruction. The difference of manners which he observed was to him an inexhaustible source of instruction and amusement. He was for ever busy; and the only check to his enjoyments was my sorrowful and dejected mien.

1818

But in Clerval I saw the image of my former self; he was inquisitive, and anxious to gain experience and instruction. The difference of manners which he observed was to him an inexhaustible source of instruction and amusement. He was also pursuing an object he had long had in view. His design was to visit India, in the belief that he had in his knowledge of its various languages, and in the views he had taken of its society, the means of materially assisting the progress of European colonisation and trade. In Britain only could he further the execution of his plan. He was for ever busy; and the only check to his enjoyments was my sorrowful and dejected mien.

1831

Especially at the beginning, I wasn't collecting every difference between the two editions, so I don't remember if I have commented on this before or not. But Henry's more mercantile aspirations are something that has been happening throughout the 1831 edition, for example when he talked about why he wanted to go to school. And it was only in this passage that I made the connection to another altered career path: Ernest Frankenstein.

In 1818, Elizabeth advocates for Ernest to become a farmer, contrary to Alphonse suggesting he become an advocate/eventually a judge. In 1831, on the other hand, Ernest himself insists on being a soldier against the wishes of his father, but Elizabeth supports him since she thinks he'd just become an idler if his wishes weren't granted:

My uncle and I conversed a long time last night about what profession Ernest should follow. His constant illness when young has deprived him of the habits of application; and now that he enjoys good health, he is continually in the open air, climbing the hills, or rowing on the lake. I therefore proposed that he should be a farmer; which you know, Cousin, is a favourite scheme of mine. A farmer's is a very healthy happy life; and the least hurtful, or rather the most beneficial profession of any. My uncle had an idea of his being educated as an advocate, that through his interest he might become a judge. But, besides that he is not at all fitted for such an occupation, it is certainly more creditable to cultivate the earth for the sustenance of man, than to be the confidant, and sometimes the accomplice, of his vices; which is the profession of a lawyer. I said, that the employments of a prosperous farmer, if they were not a more honourable, they were at least a happier species of occupation than that of a judge, whose misfortune it was always to meddle with the dark side of human nature. My uncle smiled, and said, that I ought to be an advocate myself, which put an end to the conversation on that subject.

1818

How pleased you would be to mark the improvement of our Ernest! He is now sixteen, and full of activity and spirit. He is desirous to be a true Swiss, and to enter into foreign service; but we cannot part with him, at least until his elder brother return to us. My uncle is not pleased with the idea of a military career in a distant country; but Ernest never had your powers of application. He looks upon study as an odious fetter;—his time is spent in the open air, climbing the hills or rowing on the lake. I fear that he will become an idler, unless we yield the point, and permit him to enter on the profession which he has selected.

1831

There are a couple of ways this plays into existing themes, in both editions. In 1818, Ernest's future being debated between farmer and judge positions him as undecided between two options. First, the idealized smaller family lifestyle as viewed by Creature when he talks about the De Laceys farming their own food (despite them not being 'farmers' beyond necessity) or just in general the idea of harmony with the earth and not doing harm as Elizabeth says. Second, the arbiter or human conflicts, the embodiment of the justice system. We've seen how flawed that system is every time it's brought up, and Elizabeth seems to consider it almost a corrupting influence, to have to concern oneself with the dark side of human nature. More importantly though I think is the contrast between farming being presented as some individual bond with the land, versus advocate/judge being about human society. Setting aside how it's unlikely Ernest's station in life would ever allow him to be that particular kind of farmer (and also farming as a profession is hardly some idealized simple joy of nature), the contrast between outdoor/indoor, nature/civilization, physical labor/mental labor and so on are what's being played with here. Another notable detail is that Ernest isn't involved in this conversation at all; it's just two older relatives discussing his future and what they each think would suit him best (which happens to line up with their values).

In 1831, the options presented are more soldier or layabout (his father's ideal career for him is hinted at in the line about Ernest not liking to study, but not really expounded on). It's not about society/nature, it's about activity/indolence. And Ernest himself is more driven and more involved, contrasting the other version. Of course, he's still only 16, so it could well be that his eagerness to run off and join the army, while more outspoken, is no more mature than the lack of career planning we hear directly from him in the original, but just like 1831 Victor is more take-charge, so too is 1831 Ernest.

To bring it all back to this chapter and my original point... I find it quite interesting how 1818 Henry isn't described as being especially ambitious, more just wanting to learn because he enjoys it. He knows he is going to take over his father's business and is okay with that, but is more interested personally in poetry, romances, literature, society of great minds, etc. In 1831, Henry is not only expecting to inherit the business, but is actively making plans to expand and to use his learning to further his mercantile success.

Both Henry Clerval and Ernest Frankenstein follow a much more colonial career path in 1831. They seem to be representing something of the 'march of progress': they want to travel and leave their homeland with the specific aim of either fighting or trading to 'civilize' those foreign lands. As such, they want to serve Society on a larger scale, more institutionally than individually. This is in marked contrast to the singular Creature and the link to nature he represents... as well as in some ways Victor, who is often characterized by profound isolation (mental, emotional, physical...). It's interesting especially because in the original, both Henry and Ernest seem to be drawn more to the individual side of things, or at least not so interested in serving as cogs in any great machine. And then you could maybe even get into them both (and Victor) already having places ready for them within larger society and not caring as much about it, contrasting Creature's exclusion and his desperate desire to join humanity. Just a lot of interesting thoughts.

[vickyvicarious]

Not going to quote since it's quite long, but interestingly the 1831 edition changed it so it seems Victor goes on this trip alone. It also appears to be a decision he made himself, rather than a suggestion from his father. And while in 1818, Victor lags behind to have some solitude but still seems quite miserable regardless of the scenery, in 1831 he makes mention of feeling a comforted/happily nostalgic often - never permanently, of course, but it's an interesting distinction.

Given the themes of isolation and passivity, the alternate choice to make 1818 Victor more passive and suffering in company due to mental isolation, or 1831 Victor make the active choice to physically isolate himself from his loved ones... well, both play on the same theme in different ways.

While generally Victor needs support and contact to drag himself out of bad mental spaces, I can definitely see him being able to relax more if he were truly alone, given how stressful his self-imposed mental isolation (misunderstood as different types of grief by different people, with Alphonso being further from the truth and Elizabeth on the right track but lacking relevant information) must be. But it seems much more in-character for him to stay with them no matter how miserable he is, given his fears about the Creature revenging himself upon other loved ones too. I mean, he outright contemplates suicide and then decides he has to stay to protect his family, so I feel leaving their side doesn't fit as well with that.

[vickyvicarious]

Elizabeth observed my agitation for some time in timid and fearful silence; at length she said, "What is it that agitates you, my dear Victor? What is it you fear?"

1818

Elizabeth observed my agitation for some time in timid and fearful silence; but there was something in my glance which communicated terror to her, and trembling she asked, "What is it that agitates you, my dear Victor? What is it you fear?"

1831

In the original version, Elizabeth is obviously deeply concerned and even fearful about what Victor's attitude means (as well as her own premonitions that she mentioned on the boat). In 1831, the narrative goes a step further and makes it clear that she is also afraid for herself. The original could be her worried mostly about Victor.

In fact a part of me wonders if, based on what she has seen/heard of him, she expects Victor to kill himself tonight. She wouldn't even be wrong to think so, since he is expecting to die and seeming even to welcome it rather than try to escape it. I wonder if she almost expects his promised 'I'll tell you everything' to be in the form of a suicide note. Of course, if so then the question of why she leaves him alone is a major one, but... I dunno, it feels like a possibility. Maybe needs a little more consideration to work out fully.

But the terror being communicated to her in 1831, making it clear that she is asking 'tremblingly' makes it seem more like the fear is spreading to her and she's afraid for herself now too. Which is definitely warranted as well and fits with what's about to happen.

[vickyvicarious]

"Oh, Justine! forgive me for having for one moment distrusted you. Why did you confess? But do not mourn, my dear girl; I will every where proclaim your innocence, and force belief. Yet you must die; you, my playfellow, my companion, my more than sister. I never can survive so horrible a misfortune."

"Dear, sweet Elizabeth, do not weep. You ought to raise me with thoughts of a better life, and elevate me from the petty cares of this world of injustice and strife. Do not you, excellent friend, drive me to despair."

"I will try to comfort you; but this, I fear, is an evil too deep and poignant to admit of consolation, for there is no hope. Yet heaven bless thee, my dearest Justine, with resignation, and a confidence elevated beyond this world. Oh! how I hate its shews and mockeries! when one creature is murdered, another is immediately deprived of life in a slow torturing manner; then the executioners, their hands yet reeking with the blood of innocence, believe that they have done a great deed. They call this retribution . Hateful name! When that word is pronounced, I know greater and more horrid punishments are going to be inflicted than the gloomiest tyrant has ever invented to satiate his utmost revenge. Yet this is not consolation for you, my Justine, unless indeed that you may glory in escaping from so miserable a den. Alas! I would I were in peace with my aunt and my lovely William, escaped from a world which is hateful to me, and the visages of men which I abhor."

Justine smiled languidly. "This, dear lady, is despair, and not resignation. I must not learn the lesson that you would teach me. Talk of something else, something that will bring peace, and not increase of misery."

1818 edition

"Oh, Justine! forgive me for having for one moment distrusted you. Why did you confess? But do not mourn, my dear girl. Do not fear. I will proclaim, I will prove your innocence. I will melt the stony hearts of your enemies by my tears and prayers. You shall not die! —You, my playfellow, my companion, my sister, perish on the scaffold! No! no! I never could survive so horrible a misfortune."

Justine shook her head mournfully. "I do not fear to die," she said; "that pang is past. God raises my weakness, and gives me courage to endure the worst. I leave a sad and bitter world; and if you remember me, and think of me as one unjustly condemned, I am resigned to the fate awaiting me. Learn from me, dear lady, to submit in patience to the will of Heaven!"

1831 edition

.

This, the largest difference between the two editions this chapter (except the very end, where 1818 Elizabeth is reassured by Justine's conversation and Victor calls himself a wretch while 1831 Victor announces Justine's death immediately after her final line, then goes on for several paragraphs describing their failed entreaties on her behalf and grief afterwards - something I suspect may be folded into the start of the next chapter in the original version). And it's another very interesting edit to me in how it changes the characterization of those involved.

Starting right at the beginning, 1818 Elizabeth is already grieving and hopeless. She says she will "force belief. Yet you must die"; not believing her own assurances any longer than it takes to say them. She's getting caught up in her own grief for having lost Justine while the woman still stands in front of her. 1831 Elizabeth, in contrast, is in denial. She doesn't plan to force belief, but to beg and pray, and insists it will work because she can't bear the thought that it won't. She speaks of Justine's death as a terrible looming possibility, but not a decided fact ("I never can/could survive so horrible a misfortune." 1818/1831)

1831 Justine is resigned already. She faces her death bravely and uses the lens of religion to frame her coming execution as an end to suffering. She emphasizes submitting to the will of Heaven, echoing Elizabeth's own language of begging and praying - both are more passive in this later version.

In 1818, Elizabeth and Justine both know there truly is nothing to be done. But neither are initially resigned to it. Elizabeth is furious, going off on a long rant about the injustice of the situation despite Justine asking her for comfort. She can tell her that she hopes Justine is blessed with resignation (something 1831 Justine apparently has from the start) but Elizabeth's thoughts are constantly drawn back to the lack of hope for any saving grace, to the point that she proclaims she would prefer to die herself than to helplessly witness such men in power. Justine has to lightly scold her that this isn't helping either of them, that this is despair talking.

1818 certainly does end the chapter with Elizabeth feeling more reassured (saying "my heart is lightened" and "I am consoled" now that she knows Justine is innocent) versus the abrupt whiplash of despair in 1831 (literally going "'...be happy, and make others so.' And on the morrow Justine died."). And sure, in both versions Justine ends up being the one to comfort her friends by claiming them knowing of her innocence is enough for her. But the overall effect of this changed passage makes the 1818 version far more effective for me.

Elizabeth isn't naive or in denial. She understands the kind of world in which she lives. She knows the limits of the power she has. And her dearest friend, her "more than sister" (vs. just "sister" in 1831) is suffering for a crime she did not commit, for the murder of someone almost like her own son. Elizabeth loses it, she gets mad, she wishes she were dead, she can't offer proper consolation – it's all so much messier than the innocent denial of 1831 Elizabeth, and it brings her to life as more of a person as a result. The dialogue with Justine saying that's not comfort, try again, so vividly brings to mind a much closer relationship for me as well as a model of how they may have talked together, vs. saintly Justine of 1831. They both seem more watered down in the later version, more idealized and thus less real.

And, notably, taking away this passage greatly minimizes the emphasis on injust/inadequate systems that is so prevalent throughout the entire chapter. It's not just a lack of proof, it's people who look on Justine as being risen above her station and greedy despite that. It's an eagerness to assign and then punish otherness as monstrosity. It's the court of popular opinion in which Justine's honesty and inability to speak prettily prejudices others further against her. It's the joy of punishment, of exacting "retribution" as Elizabeth so clearly calls out - patting themselves on the back as they turn their backs on Justine's friendship, as they force a false confession out of her, as they punish someone else to feel better about themselves.

All these themes directly relate to the Creature, whose act of punishing an innocent to revenge himself on someone else will become fully apparent later. They apply to Victor too, with his immediate and proofless certainty of the Creature's guilt mirroring the general reaction to Justine. But even outside this specific instance, they resonate with the breakdown of larger communities/systems so prevalent throughout the rest of the book. Societal, school, family, and legal systems are all shown to have flaws or be generally lacking in ways that contribute to help worsen the situation or shape the kinds of people who can't help but further their own misery, with a recurring emphasis on isolation and perception.

Even/especially those people who see what is going on are powerless to change the public perception. They're left isolated with no recourse. And so we have Justine suffering with only two people who know/believe her story, Elizabeth raging at the injustice of it all, while in the very same room sits Victor privately thinking about how he's worse off because he knows even more of the story and can't tell anyone since they won't believe him, leaving him even more isolated than they are. And they all know (or think they know, in Victor's case, a perhaps self-fulfilling prophecy) they can't change the situation, can't prevent the inevitable death and suffering on the horizon. All they can do is wait... to die, to lose someone, or to spot an opportunity to seek their own retribution, thus continuing the cycle.

[vickyvicarious]

She thanked him in the most ardent terms for his intended services towards her father; and at the same time deeply deplored her own fate.

1818

She thanked him in the most ardent terms for his intended services towards her parent; and at the same time gently deplored her own fate.

1831

There seem to be very few changes between editions in the Creature chapters, and so far it has only been a word or two which don't make much difference in my mind (for example, from later in this chapter, changing "puerile amusements" in 1818 to "infantile amusements" in 1831, or changing "his plans were greatly facilitated" to "his plans were facilitated").

But, while the above quote is also only a two-word change, it feels like one which definitely changes the meaning. 1818 says father as Safie deplores her fate when told she's going to be married off to a stranger. This once again emphasizes the prevalence of a strained fatherly relationship and a child sacrificing their desires to familial duties, a bit more than the shift to the less specific parent does in 1831. It's an odd change, as Safie and her father are meant to be at odds, and he in fact is villainized in some pretty cliche/racist ways throughout the rest of the chapter, so that dimension of their relationship doesn't exactly go away. But while he's still called her father later in the same sentence when she is defying him, it happens later on after he's betrayed the De Laceys. Perhaps the shift to parent is meant to show how she is dedicated to her family as a concept more than this specific man who doesn't deserve it; in a sense, more to the memory of her mother's values which align her with the De Lacey family. It's kinda muddy, though, and I'm not sure how much difference it makes here.

The main change that actually strikes me here is the difference between deeply/gently deploring her fate. In both editions, after spending time with him Safie fairly quickly decides that marrying Felix is okay, actually. And that, in fact, it's the right/desirable thing to do even to the point of running away from her father (though I think you could read it as more her following an honorable course of action/not having many other decent options rather than her necessarily loving him as well). Still, at the beginning Safie was not pleased about the idea. Literally gentling her reaction feels like minimizing her distress in anticipation of this 'he's a good guy' happy ending - meanwhile erasing a sign of Safie's intense emotions, and how they were helpless to the pressure of familial expectation. Once again, something that plays into themes of at the very least the original 1818 Frankenstein family. In this specific circumstance, it also plays into female freedom or lack thereof, and such feminist themes as well.

[vickyvicarious]

I remembered also the necessity imposed upon me of either journeying to England, or entering into a long correspondence with those philosophers of that country, whose knowledge and discoveries were of indispensable use to me in my present undertaking. The latter method of obtaining the desired intelligence was dilatory and unsatisfactory: besides, any variation was agreeable to me, and I was delighted with the idea of spending a year or two in change of scene and variety of occupation, in absence from my family; during which period some event might happen which would restore me to them in peace and happiness: my promise might be fulfilled, and the monster have departed; or some accident might occur to destroy him, and put an end to my slavery for ever.

These feelings dictated my answer to my father. I expressed a wish to visit England; but, concealing the true reasons of this request, I clothed my desires under the guise of wishing to travel and see the world before I sat down for life within the walls of my native town.

I urged my entreaty with earnestness, and my father was easily induced to comply; for a more indulgent and less dictatorial parent did not exist upon earth. Our plan was soon arranged. I should travel to Strasburgh, where Clerval would join me. Some short time would be spent in the towns of Holland, and our principal stay would be in England. We should return by France; and it was agreed that the tour should occupy the space of two years.

My father pleased himself with the reflection, that my union with Elizabeth should take place immediately on my return to Geneva. "These two years," said he, "will pass swiftly, and it will be the last delay that will oppose itself to your happiness. And, indeed, I earnestly desire that period to arrive, when we shall all be united, and neither hopes or fears arise to disturb our domestic calm."

"I am content," I replied, "with your arrangement. By that time we shall both have become wiser, and I hope happier, than we at present are." I sighed; but my father kindly forbore to question me further concerning the cause of my dejection. He hoped that new scenes, and the amusement of travelling, would restore my tranquillity.

1818

I remembered also the necessity imposed upon me of either journeying to England, or entering into a long correspondence with those philosophers of that country, whose knowledge and discoveries were of indispensable use to me in my present undertaking. The latter method of obtaining the desired intelligence was dilatory and unsatisfactory: besides, I had an insurmountable aversion to the idea of engaging myself in my loathsome task in my father's house, while in the habits of familiar intercourse with those I loved. I knew that a thousand fearful accidents might occur, the slightest of which would disclose a tale to thrill all connected with me with horror. I was aware also that I should often lose all self-command, all capacity of hiding the harrowing sensations that would possess me during the progress of my unearthly occupation. I must absent myself from all I loved while thus employed. Once commenced, it would quickly be achieved, and I might be restored to my family in peace and happiness. My promise fulfilled, the monster would depart forever. Or (so my fond fancy imaged) some accident might meanwhile occur to destroy him, and put an end to my slavery for ever.

These feelings dictated my answer to my father. I expressed a wish to visit England; but, concealing the true reasons of this request, I clothed my desires under a guise which excited no suspicion, while I urged my entreaty with an earnestness that easily induced my father to comply. After so long a period of an absorbing melancholy, that resembled madness in its intensity and effects, he was glad to find that I was capable of taking pleasure in the idea of such a journey, and he hoped that change of scene and varied amusement would, before my return, have restored me entirely to myself.

The duration of my absence was left to my own choice; a few months, or at most a year, was the period contemplated. One paternal kind precaution he had taken to ensure my having a companion. Without previously communicating with me, he had, in concert with Elizabeth, arranged that Clerval should join me at Strasburgh. This interfered with the solitude I coveted for the prosecution of my task; yet at the commencement of my journey the presence of my friend could be in no way an impediment, and truly I rejoiced that thus I should be saved many hours of lonely, maddening reflection. Nay, Henry might stand between me and the intrusion of my foe. If I were alone, would he not at times force his abhorred presence on me, to remind me of my task, or to contemplate its progress?

To England, therefore, I was bound, and it was understood that my union with Elizabeth should take place immediately on my return. My father's age rendered him extremely averse to delay. For myself, there was one reward I promised myself from my detested toils—one consolation for my unparalleled sufferings; it was the prospect of the day when, enfranchised from my miserable slavery, I might claim Elizabeth, and forget the past in my union with her.

1831

This is a bit of a longer comparison, but I think there's a couple of interesting differences here. In the first paragraph alone, there are a couple of intriguing differences, which then inform the rest of each passage.

In 1818, Victor wants to get away from his family. For a couple of years. And he isn't being very specific at all about what he wants to do once alone, outside from England being a useful place to study up to create a second Creature. He says maybe he will fulfill his promise, or maybe something will just kill the Creature off without him having to do anything, with about the same amount of detail. It definitely seems like a major part of him wanting to leave is to be away from these people. He loves them, of course, but his guilt still holds him separate. And in addition, some of the older familial expectations (and his own feelings of failing at them) seem to be cropping up with the questions about him marrying Elizabeth. Victor is still being quite avoidant of his responsibilities, and guilty about being so, both in regards to his 'son' and his father.

Contrast to 1831, where Victor wants to leave because he can't imagine making another Creature near his family. Not only is this a much more grisly reminder of the reality of what goes into making a living being, but completely changes the tone of his desire to leave. He doesn't want his family to see him like that - and it's a much more foregone conclusion in this Victor's mind that he will get caught up in that same frame of mind and commit those same actions as before. 1831 Victor is much more actively planning to honor his promise, and his hope that something will happen to prevent its being necessary is acknowledged as a mere fancy this time around.

Bearing these differences in mind, the tone of the rest of both quotes follow predictable lines. In 1818, Victor seems to be planning his trip together with his father, and isn't surprised by Clerval's inclusion. This account dwells more on the various places they will visit, and gives a much longer timeframe of one or two years absence before Victor will be expected to return. While he is framing this trip as necessary for fulfilling his promise to the Creature, Victor is still being avoidant, still trying to give himself outs. Finally, Alphonse 'pleased himself with the reflection' that Victor will be married immediately upon his return. Victor's response is pretty lukewarm, all told: "I am content with your arrangement." Not only is it other peoples' doing, with which he is just willingly going along, but he also just doesn't seem to care that much about the idea of being married to Elizabeth. He's not against it, but he doesn't seem to be looking forward to it either.

1831, on the other hand, continues with a much stronger focus on what Victor is planning to do. He didn't expect Clerval to join him, and waffles between being upset that it will make his work more difficult, and hoping that it will mean the Creature is more reluctant to approach him (both versions keep Victor worrying about his family being left behind before convincing himself that the Creature will probably follow him on his trip; having this come before that feels a little disjointed in the later version). There is a huge difference in how long he is expected to be away; he asks for only a few months to a year maximum. Obviously, he's planning to be much more on-task about his promise, trying to get it out of the way and then put it behind him forever. He also seems much more invested in the idea of peaceful domestic life with Elizabeth, musing to himself about his eagerness to marry her. He views this marriage (and, presumably, happy family life afterwards) as a reward for all he's been through.

A further difference between the two versions is that in 1818, asking for this trip is one of the first things Victor has done under his own willpower since his return home. For the most part he has otherwise been willing to follow alone with others, or seek solitude on the lake. So it makes sense that his father is excited about him asking, and is more eager to agree. In 1831, he chose to go to the mountains of his own accord and entirely alone, meaning this second trip isn't as distinctive of a sign of him beginning to recover. In that sense, his father's willingness to agree makes a little less sense, given the state Victor was in upon his return; but him and Elizabeth contriving to have Clerval join Victor becomes an even stronger expression of their concern. They seem to hope that having his best friend along will keep Victor from falling back into a similar depression.

Overall, we once again see 1818 Victor as being much more listless, and having a more complicated relationship with his family, as well as less of a romantic relationship with Elizabeth. 1831 Victor is more driven, his family life is more idyllic/must be protected, and he looks forward to marrying Elizabeth.