Frankenstein, or The Modern Prometheus / Франкенштейн, или Современный Прометей. Книга для чтения на английском языке

Оглавление

Мэри Шелли. Frankenstein, or The Modern Prometheus / Франкенштейн, или Современный Прометей. Книга для чтения на английском языке

Preface

Letter I

Letter II

Letter III

Letter IV

I [Speaker: Frankenstein]

II [Speaker: Frankenstein]

III [Speaker: Frankenstein]

IV [Speaker: Frankenstein]

V [Speaker: Frankenstein]

VI [Speaker: Frankenstein]

VII [Speaker: Frankenstein]

VIII [Speaker: Frankenstein]

IX [Speaker: Frankenstein]

X [Speaker: Frankenstein]

XI [Speaker: Monster]

XII [Speaker: Monster]

XIII [Speaker: Monster]

XIV [Speaker: Monster]

XV [Speaker: Monster]

XVI [Speaker: Monster]

XVII [Speaker: Frankenstein]

XVIII [Speaker: Frankenstein]

XIX [Speaker: Frankenstein]

XX [Speaker: Frankenstein]

XXI [Speaker: Frankenstein]

XXII [Speaker: Frankenstein]

XXIII [Speaker: Frankenstein]

XXIV [Speaker: Frankenstein]

Walton, in Continuation

Tasks

Vocabulary

Aa

Bb

Cc

Dd

Ee

Ff

Gg

Hh

Ii

Jj

Kk

Ll

Mm

Nn

Oo

Pp

Qq

Rr

Ss

Tt

Uu

Vv

Ww

Yy

Zz

Отрывок из книги

The event on which this fiction is founded has been supposed by Dr. Darwin and some of the physiological writers of Germany, as not of impossible occurrence. I shall not be supposed as according the remotest degree of serious faith to such an imagination; yet, in assuming it as the basis of a work of fancy, I have not considered myself as merely weaving a series of supernatural terrors. The event on which the interest of the story depends is exempt from the disadvantages of a mere tale of spectres or enchantment. It was recommended by the novelty of the situations which it develops, and however impossible as a physical fact, affords a point of view to the imagination for the delineating of human passions more comprehensive and commanding than any which thee ordinary relations of existing events can yield.

I have thus endeavoured to preserve the truth of the elementary principles of human nature, while I have not scrupled to innovate upon their combinations. The Iliad, the tragic poetry of Greece, Shakespeare in the Tempest and Midsummer Night’s Dream, and most especially Milton in Paradise Lost conform to this rule; and the most humble novelist, who seeks to confer or receive amusement from his labours, may, without presumption, apply to prose fiction a license, or rather a rule, from the adoption of which so many exquisite combinations of human feeling have resulted in the highest specimens of poetry.

.....

I said in one of my letters, my dear Margaret, that I should find no friend on the wide ocean; yet I have found a man who, before his spirit had been broken by misery, I should have been happy to have possessed as the brother of my heart.

I shall continue my journal concerning the stranger at intervals, should I have any fresh incidents to record.

.....