Abstract
HE GENESIS of Mary Shelley's Frankenstein; or, The Modern T Prometheus has often been ascribed to an occurrence in Byron's Villa Diodati, near Geneva, in 1816; ghost stories had been read aloud and everyone present agreed to write his own weird tale for group. Few critics have credited Mary with aiming to do more than provide entertainment and shudders. Yet, as Shelley noted in his preface to first edition of 1818, other motives were mingled with these as work proceeded, chiefly the exhibition of amiableness of domestic affection, and excellence of universal virtue.' Later Shelley suggested even more varied motivation for work. In a review, unpublished during his lifetime, he briefly traced a line of inquiry which I should like to follow in this study:
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