Shelley, Mary. Frankenstein. Norton Critical Edition. 1818; New York: W. W. Norton, 1996. Storment, Suzanna.
2nd Edition. New York: W.W. Norton & Co., 2010. 2223–2237. Print.
In addition to these poems, Scott published a number of novels such as Waverley (1814), Guy Mannering (1815), Tales of My Landlord (1816), and Ivanhoe (1819) among other publications. Walter Scott’s critique in the 1818, Blackwood's Edinburgh Magazine Review of Frankenstein, is that Frankenstein is a novel of romantic fiction depicting a peculiar nature that narrates the real laws of nature and family values. This review explains that Mary Shelley manages the style of composition, and gives her characters an indirect importance to the reader as the laws of nature takes course in the novel. In addition, Walter Scott appreciates the numerous theme... ... middle of paper ... ...nfirmed by its intense after life. Ever since, it has been analyzed and scrutinized using several approaches and techniques.
The role of the imagination in Mary Shelley’s 1818 novel, Frankenstein is a vital when defining the work as Romantic. Though Shelley incorporates aspects that resemble the Enlightenment period, she relies on the imagination. The power of the imagination is exemplified in the novel through both Victor and the Creature as each embarks to accomplish their separate goals of scientific fame and accomplishing human relationships. The origin of the tale also emphasizes the role of the imagination as Shelley describes it in her “Introduction to Frankenstein, Third Edition (1831)”. Imagination in the text is also relatable to other iconic works of the Romantic Period such as S. T. Coleridge’s Biographia Literaria in which he defines Primary and Secondary imagination.