The form is created in nervous fear and fever. Frankenstein being the ideal scientist, devoid of all feeling for art (whose ideas of it, indeed, might be limited to the elevation and section of a pot), without any ideal of proportion or beauty, reaches the point where he considers nothing but the infusion of life necessary. All is ready, and in the first hour of the morning he applies his fatal discovery. Breath is given, the limbs move, the eyes open, and the colossal being or monster, as he is henceforth called, becomes animated; though copied from statues, its fearful size, its terrible complexion and drawn skin, scarcely concealing arteries and muscles beneath, add to the horror of the expression. And this is the end of two years work to the horrified Frankenstein. Overwhelmed by disgust, he can only rush from the room, and finally falls exhausted on his bed, only to wake to find his monster grinning at him. He runs forth into the street, and here, in Mary's first work, we have a reminiscence of her own infant days, when she and Claire hid themselves under the sofa to hear Coleridge read his poem, for the following stanza from the Ancient Mariner might seem almost the key-note of Frankenstein:—
Doth walk in fear and dread,
And having once turned round, walks on,
And turns no more his head,
Because he knows a fearful fiend
Doth close behind him tread.
Frankenstein hurries on, but coming across his old friend Henri Clerval at the stage coach, he recalls to mind his father, Elizabeth, bis former life and friends. He returns to his rooms with his friend. Reaching his door, he trembles, but opening it, finds himself
