Much of Frankenstein’s story unfolds in Switzerland, the country in central Europe where Mary Shelley was staying when she began writing the novel. However, the novel ranges widely within Europe and across the globe. Frankenstein visits Germany, France, England and Scotland. Walton travels through Russia. Elizabeth is Italian and the DeLaceys are a French family living in Germany. Safie is Turkish. Clerval plans to move to India, and the Monster proposes relocating to South America. The novel’s frame story, narrated by Walton, is set in the Arctic Ocean, where Walton is trying to find a new route around the world. By encompassing the whole globe in this way, Frankenstein presents itself as a universal story. The global reach of the setting also suggests one way in which Frankenstein can be read allegorically. Shelley’s era saw a rapid expansion of European power across the globe, driven by the same advances in science that enable Frankenstein to create the Monster.

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• Priest in Peril is the first quest to take place in Morytania, and is required to enter the region. At the command of King Roald, you must head to the temple of Paterdomus to aid the monk Drezel with recovering the temple. 1 Details 2 Walkthrough 2.1 Beginning the quest 2.2 The dungeon 2.3 Returning to King Roald 2.4 Back to the temple 3 Rewards 4 Required for completing 5 Trivia Items.

Frankenstein’s Swiss and Arctic settings support the novel’s argument that the natural world should be respected for its dangers as well as its beauty. The Swiss Alps are initially a place of wonderful beauty: as Frankenstein describes, “I suddenly left my home, and, bending my steps towards the near Alpine valleys, sought in the magnificence, the eternity of such scenes, to forget myself” However, as Frankenstein climbs, the “eternity” of the Alps becomes inhospitable and foreboding, a “sea of ice” and “bare perpendicular rock.” This physical journey from his comfortable home to the barren mountains reflects Frankenstein’s intellectual journey. He leaves the safety of home to seek out wonderful new knowledge, but he goes further than human beings should go, and he ends up somewhere dangerous when he creates the Monster. The barren landscapes of the high Alps and the Arctic help to make one of Frankenstein’s central arguments: not everything in nature is safe for humans to discover or experience.

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Summary: Chapter 1

The stranger, who the reader soon learns is Victor Frankenstein, begins his narration. He starts with his family background, birth, and early childhood, telling Walton about his father, Alphonse, and his mother, Caroline. Alphonse became Caroline’s protector when her father, Alphonse’s longtime friend Beaufort, died in poverty. They married two years later, and Victor was born soon after.

Frankenstein then describes how his childhood companion, Elizabeth Lavenza, entered his family. At this point in the narrative, the original (1818) and revised (1831) versions of Frankenstein diverge. In the original version, Elizabeth is Victor’s cousin, the daughter of Alphonse’s sister; when Victor is four years old, Elizabeth’s mother dies and Elizabeth is adopted into the Frankenstein family. In the revised version, Elizabeth is discovered by Caroline, on a trip to Italy, when Victor is about five years old. While visiting a poor Italian family, Caroline notices a beautiful blonde girl among the dark-haired Italian children; upon discovering that Elizabeth is the orphaned daughter of a Milanese nobleman and a German woman and that the Italian family can barely afford to feed her, Caroline adopts Elizabeth and brings her back to Geneva. Victor’s mother decides at the moment of the adoption that Elizabeth and Victor should someday marry.

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Summary: Chapter 2

Elizabeth and Victor grow up together as best friends. Victor’s friendship with Henry Clerval, a schoolmate and only child, flourishes as well, and he spends his childhood happily surrounded by this close domestic circle. As a teenager, Victor becomes increasingly fascinated by the mysteries of the natural world. He chances upon a book by Cornelius Agrippa, a sixteenth-century scholar of the occult sciences, and becomes interested in natural philosophy. He studies the outdated findings of the alchemists Agrippa, Paracelsus, and Albertus Magnus with enthusiasm. He witnesses the destructive power of nature when, during a raging storm, lightning destroys a tree near his house. A modern natural philosopher accompanying the Frankenstein family explains to Victor the workings of electricity, making the ideas of the alchemists seem outdated and worthless. (In the 1818 version, a demonstration of electricity by his father convinces Victor of the alchemists’ mistakenness.)

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Analysis: Chapters 1–2

The picture that Victor draws of his childhood is an idyllic one. Though loss abounds—the poverty of Beaufort and the orphaning of Elizabeth, for instance—it is always quickly alleviated by the presence of a close, loving family. Nonetheless, the reader senses, even in these early passages, that the stability and comfort of family are about to be exploded. Shining through Victor’s narration of a joyful childhood and an eccentric adolescence is a glimmer of the great tragedy that will soon overtake him.

Women in Frankensteinfit into few roles: the loving, sacrificial mother; the innocent, sensitive child; and the concerned, confused, abandoned lover. Throughout the novel, they are universally passive, rising only at the most extreme moments to demand action from the men around them. The language Victor uses to describe the relationship between his mother and father supports this image of women’s passivity: in reference to his mother, he says that his father “came as a protecting spirit to the poor girl, who committed herself to his care.” Elizabeth, Justine Moritz, and Caroline Beaufort all fit into this mold of the passive woman.Various metanarrative comments (i.e., remarks that pertain not to the content of the narrative but rather to the telling of the narrative) remind the reader of the fact that Victor’s narrative is contained within Walton’s. Victor interrupts his story to relate how Elizabeth became a part of his family, prefacing the digression with the comment, “But before I continue my narrative, I must record an incident.” Such guiding statements structure Victor’s narrative and remind the reader that Victor is telling his story to a specific audience—Walton.

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Foreshadowing is ubiquitous in these chapters and, in fact, throughout the novel. Even Walton’s letters prepare the way for the tragic events that Victor will recount. Victor constantly alludes to his imminent doom; for example, he calls his interest in natural philosophy “the genius that has regulated my fate” and “the fatal impulse that led to my ruin.” Victor’s narrative is rife with nostalgia for a happier time; he dwells on the fuzzy memories of his blissful childhood with Elizabeth, his father and mother, and Henry Clerval. But even in the midst of these tranquil childhood recollections, he cannot ignore the signs of the tragedy that lies in his imminent future; he sees that each event, such as the death of his mother, is nothing but “an omen, as it were, of [his] future misery.”

This heavy use of foreshadowing has a dual effect. On the one hand, it adds to the suspense of the novel, leaving the reader wondering about the nature of the awful tragedy that has caused Victor so much grief. On the other hand, it drains away some of the suspense—the reader knows far ahead of time that Victor has no hope, that all is doomed. Words like “fate,” “fatal,” and “omen” reinforce the inevitability of Victor’s tragedy, suggesting not only a sense of resignation but also, perhaps, an attempt by Victor to deny responsibility for his own misfortune. Describing his decision to study chemistry, he says, “Thus ended a day memorable to me; it decided my future destiny.”