Description: Check out our other new and used items>>>>>HERE! (click me) FOR SALE:A rustic-industrial decorative piece for your haunted mansion AUTHENTIQUE SPOOKY NIGHT 12" FRANKENSTEIN HEAD WOOD LUMINARIA DETAILS:Brand: Authentique Spooky Night Material: Wood, Hardware Dimensions (approx.): Height: 12 inches, Width: 8 inches, Depth: 8 inches Weight (approx.): 3.5 pounds Origin: Handcrafted in India Use as a lantern or cachepot (place potted plant inside)!From the captivating world of Authentique Spooky Night, this handcrafted Frankenstein-themed wooden lantern is a must for the Halloween fanatic. The large homespun luminaria (or lantern) showcases a unique blend of rustic, industrial, and modern styles - undeniably creating a statement piece for your Halloween décor. With its handmade look and haunting glow (when using light), it is sure to create an enchanting atmosphere for your spooky celebrations and become the highlight of your haunted night. Makes a remarkable centerpiece! Rustic Charm: This lantern embraces a rustic industrial modern aesthetic, blending raw and natural elements with contemporary design that adds a timeless appeal to any décor. The luminaria's natural wood and metal accents add a touch of rugged charm, making it an ideal fit for various décor themes. Its unstained finish and vintage-inspired design make it a perfect fit for rustic, farmhouse, or eclectic styles. The wood's exterior is smooth. Frankenstein-Inspired Design: Modeled after a paper bag lantern (or luminaria), the kind with the toothed edge, this rustic Halloween decoration works so well with its Frankenstein theme. Inspired by the iconic Frankenstein monster, this luminaria features "neck" bolts, spiked "hair", block-y shape, and a forehead "stitch" cut-out. When illuminated, the light radiates through the top and the facial cut-outs, casting captivating shadows that bring the lantern to life. Illuminating Glow: Designed to hold a 3" x 3" LED pillar candle (bottom sticker recommends), this lantern creates a mesmerizing glow that illuminates the inside and highlights the luminaria's jack-o'-lantern style face cut-outs. The soft and ambient lighting effect is perfect for setting an eerie ambiance during Halloween or other spooky occasions. Use with any flameless, LED, or battery powered light; pair with a remote-controlled color-changing light for mood-setting options. Sturdy Rope Handle: The lantern is equipped with a sturdy rope handle, adding both functionality and rustic authenticity. You can effortlessly carry it or hang it from a desired spot, be it a porch, tree branch, or any area that needs a touch of mysterious charm and enchantment. Handcrafted Excellence: Each lantern is meticulously handcrafted in India by skilled artisans, showcasing attention to detail and a charming handmade look. The fusion of traditional techniques and contemporary design creates a truly unique piece that stands out in any setting. No two wood lanterns are the same, each is one-of-a-kind. Capture the essence of a hauntingly delightful Halloween with this enchanting piece of art that combines rustic charm, industrial accents, and a touch of modern style. Don't miss your chance to own this unique creation! CONDITION:In excellent, pre-owned condition. The wood lantern is made to look rustic and weathered but it does show signs of light use as well. Please see photos.To ensure safe delivery all items are carefully repackaged before shipping out. THANK YOU FOR LOOKING. QUESTIONS? JUST ASK.*ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* "Halloween or Hallowe'en (less commonly known as Allhalloween,[5] All Hallows' Eve,[6] or All Saints' Eve)[7] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Saints' Day. It begins the observance of Allhallowtide,[8] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[9][10][11][12] One theory holds that many Halloween traditions were influenced by Celtic harvest festivals, particularly the Gaelic festival Samhain, which are believed to have pagan roots.[13][14][15][16] Some go further and suggest that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[17] Other academics believe Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[18][19][20][21] Celebrated in Ireland and Scotland for centuries, Irish and Scottish immigrants took many Halloween customs to North America in the 19th century,[22][23] and then through American influence Halloween had spread to other countries by the late 20th and early 21st century.[24][25] Popular Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins or turnips into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, and watching horror or Halloween-themed films.[26] Some people practice the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead,[27][28][29] although it is a secular celebration for others.[30][31][32] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.[33][34][35][36] Etymology "Halloween" (1785) by Scottish poet Robert Burns, recounts various legends of the holiday. The word Halloween or Hallowe'en ("Saints' evening"[37]) is of Christian origin;[38][39] a term equivalent to "All Hallows Eve" is attested in Old English.[40] The word hallowe[']en comes from the Scottish form of All Hallows' Eve (the evening before All Hallows' Day):[41] even is the Scots term for "eve" or "evening",[42] and is contracted to e'en or een;[43] (All) Hallow(s) E(v)en became Hallowe'en. History Christian origins and historic customs Halloween is thought to have influences from Christian beliefs and practices.[44][45] The English word 'Halloween' comes from "All Hallows' Eve", being the evening before the Christian holy days of All Hallows' Day (All Saints' Day) on 1 November and All Souls' Day on 2 November.[46] Since the time of the early Church,[47] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[48][44] These three days are collectively called Allhallowtide and are a time when Western Christians honour all saints and pray for recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[49] In 4th-century Roman Edessa it was held on 13 May, and on 13 May 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs".[50] This was the date of Lemuria, an ancient Roman festival of the dead.[51] In the 8th century, Pope Gregory III (731–741) founded an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[44][52] Some sources say it was dedicated on 1 November,[53] while others say it was on Palm Sunday in April 732.[54][55] By 800, there is evidence that churches in Ireland[56] and Northumbria were holding a feast commemorating all saints on 1 November.[57] Alcuin of Northumbria, a member of Charlemagne's court, may then have introduced this 1 November date in the Frankish Empire.[58] In 835, it became the official date in the Frankish Empire.[57] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[57] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[59] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[57][59] It is also suggested the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health concerns over Roman Fever, which claimed a number of lives during Rome's sultry summers.[60][44] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[61] Top: Christians in Bangladesh lighting candles on the headstone of a relative. Bottom: Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard. By the end of the 12th century, the celebration had become known as the holy days of obligation in Western Christianity and involved such traditions as ringing church bells for souls in purgatory. It was also "customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls".[62] The Allhallowtide custom of baking and sharing soul cakes for all christened souls,[63] has been suggested as the origin of trick-or-treating.[64] The custom dates back at least as far as the 15th century[65] and was found in parts of England, Wales, Flanders, Bavaria and Austria.[66] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives. This was called "souling".[65][67][68] Soul cakes were also offered for the souls themselves to eat,[66] or the 'soulers' would act as their representatives.[69] As with the Lenten tradition of hot cross buns, soul cakes were often marked with a cross, indicating they were baked as alms.[70] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[71] While souling, Christians would carry "lanterns made of hollowed-out turnips", which could have originally represented souls of the dead;[72][73] jack-o'-lanterns were used to ward off evil spirits.[74][75] On All Saints' and All Souls' Day during the 19th century, candles were lit in homes in Ireland,[76] Flanders, Bavaria, and in Tyrol, where they were called "soul lights",[77] that served "to guide the souls back to visit their earthly homes".[78] In many of these places, candles were also lit at graves on All Souls' Day.[77] In Brittany, libations of milk were poured on the graves of kinfolk,[66] or food would be left overnight on the dinner table for the returning souls;[77] a custom also found in Tyrol and parts of Italy.[79][77] Christian minister Prince Sorie Conteh linked the wearing of costumes to the belief in vengeful ghosts: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes".[80] In the Middle Ages, churches in Europe that were too poor to display relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[81][82] Some Christians observe this custom at Halloween today.[83] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[84] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which was often depicted in church decoration.[85] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that the danse macabre urged Christians "not to forget the end of all earthly things".[86] The danse macabre was sometimes enacted in European village pageants and court masques, with people "dressing up as corpses from various strata of society", and this may be the origin of Halloween costume parties.[87][88][89][72] In Britain, these customs came under attack during the Reformation, as Protestants berated purgatory as a "popish" doctrine incompatible with the Calvinist doctrine of predestination. State-sanctioned ceremonies associated with the intercession of saints and prayer for souls in purgatory were abolished during the Elizabethan reform, though All Hallow's Day remained in the English liturgical calendar to "commemorate saints as godly human beings".[90] For some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; "souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits".[91] Other Protestants believed in an intermediate state known as Hades (Bosom of Abraham).[92] In some localities, Catholics and Protestants continued souling, candlelit processions, or ringing church bells for the dead;[46][93] the Anglican church eventually suppressed this bell-ringing.[94] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth".[95] After 1605, Hallowtide was eclipsed in England by Guy Fawkes Night (5 November), which appropriated some of its customs.[96] In England, the ending of official ceremonies related to the intercession of saints led to the development of new, unofficial Hallowtide customs. In 18th–19th century rural Lancashire, Catholic families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[97] There was a similar custom in Hertfordshire, and the lighting of 'tindle' fires in Derbyshire.[98] Some suggested these 'tindles' were originally lit to "guide the poor souls back to earth".[99] In Scotland and Ireland, old Allhallowtide customs that were at odds with Reformed teaching were not suppressed as they "were important to the life cycle and rites of passage of local communities" and curbing them would have been difficult.[22] In parts of Italy until the 15th century, families left a meal out for the ghosts of relatives, before leaving for church services.[79] In 19th-century Italy, churches staged "theatrical re-enactments of scenes from the lives of the saints" on All Hallow's Day, with "participants represented by realistic wax figures".[79] In 1823, the graveyard of Holy Spirit Hospital in Rome presented a scene in which bodies of those who recently died were arrayed around a wax statue of an angel who pointed upward towards heaven.[79] In the same country, "parish priests went house-to-house, asking for small gifts of food which they shared among themselves throughout that night".[79] In Spain, they continue to bake special pastries called "bones of the holy" (Spanish: Huesos de Santo) and set them on graves.[100] At cemeteries in Spain and France, as well as in Latin America, priests lead Christian processions and services during Allhallowtide, after which people keep an all night vigil.[101] In 19th-century San Sebastián, there was a procession to the city cemetery at Allhallowtide, an event that drew beggars who "appeal[ed] to the tender recollectons of one's deceased relations and friends" for sympathy.[102] Gaelic folk influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[103] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[104] The origins of Halloween customs are typically linked to the Gaelic festival Samhain.[105] Samhain is one of the quarter days in the medieval Gaelic calendar and has been celebrated on 31 October – 1 November[106] in Ireland, Scotland and the Isle of Man.[107][108] A kindred festival has been held by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival begins the evening before 1 November by modern reckoning.[109] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[110] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland.[111] Samhain marked the end of the harvest season and beginning of winter or the 'darker half' of the year.[112][113] It was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[114][115] Most scholars see them as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[116] They were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[117][118] At Samhain, the Aos Sí were appeased to ensure the people and livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for them.[119][120][121] The souls of the dead were also said to revisit their homes seeking hospitality.[122] Places were set at the dinner table and by the fire to welcome them.[123] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures.[66] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[124] Throughout Ireland and Britain, especially in the Celtic-speaking regions, the household festivities included divination rituals and games intended to foretell one's future, especially regarding death and marriage.[125] Apples and nuts were often used, and customs included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[126] Special bonfires were lit and there were rituals involving them. Their flames, smoke, and ashes were deemed to have protective and cleansing powers.[112] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[110] It is suggested the fires were a kind of imitative or sympathetic magic – they mimicked the Sun and held back the decay and darkness of winter.[123][127][128] They were also used for divination and to ward off evil spirits.[74] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[129] In Wales, bonfires were also lit to "prevent the souls of the dead from falling to earth".[130] Later, these bonfires "kept away the devil".[131] photograph A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[132] From at least the 16th century,[133] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[134] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to 'souling'. Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[135] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[136] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[134] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked or blackened with ashes from the sacred bonfire.[133] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[134] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[134] Elsewhere in Europe, mumming was part of other festivals, but in the Celtic-speaking regions, it was "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[134] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween did not spread to England until the 20th century.[134] Pranksters used hollowed-out turnips or mangel wurzels as lanterns, often carved with grotesque faces.[134] By those who made them, the lanterns were variously said to represent the spirits,[134] or used to ward off evil spirits.[137][138] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[134] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of Britain and became generally known as jack-o'-lanterns.[134] Spread to North America The annual New York Halloween Parade in Greenwich Village, Manhattan, is the world's largest Halloween parade, with millions of spectators annually, and has its roots in New York’s queer community.[139] Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[140][141] although the Puritans of New England strongly opposed the holiday, along with other traditional celebrations of the established Church, including Christmas.[142] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[22] It was not until after mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America.[22] Most American Halloween traditions were inherited from the Irish and Scots,[23][143] though "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[144] Originally confined to these immigrant communities, it was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the early 20th century.[145] Then, through American influence, these Halloween traditions spread to many other countries by the late 20th and early 21st century, including to mainland Europe and some parts of the Far East.[24][25][146] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including skeletons, ghosts, cobwebs, headstones, and scary looking witches. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[73][147] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[148] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[149] On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[150] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[151][152] but immigrants to North America used the native pumpkin, which is both much softer and much larger, making it easier to carve than a turnip.[151] The American tradition of carving pumpkins is recorded in 1837[153] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[154] Decorated house in Weatherly, Pennsylvania The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein; or, The Modern Prometheus and Dracula) and classic horror films such as Frankenstein (1931) and The Mummy (1932).[155][156] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[157] skulls have therefore been commonplace in Halloween, which touches on this theme.[158] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[159] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "bogles" (ghosts),[160] influencing Robert Burns' "Halloween" (1785).[161] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[162] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[163] Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[64] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[164] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[165] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[166][167] Mumming practiced in Germany, Scandinavia and other parts of Europe,[168] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[169] Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising was first recorded in North America In England, from the medieval period,[170] up until the 1930s,[171] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[93] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[67] In the Philippines, the practice of souling is called Pangangaluluwa and is practiced on All Hallow's Eve among children in rural areas.[26] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[26] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[172] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[152][173] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[172] The practice of guising at Halloween in North America was first recorded in 1911, where a newspaper in Kingston, Ontario, Canada, reported children going "guising" around the neighborhood.[174] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[175] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[176] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[177] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[178] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[179] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[180] and the first use in a national publication occurring in 1939.[181] A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[100][182] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[183] such as those of children's literature, movies, scripture, and job roles.[184] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[185][186] Costumes Main article: Halloween costume Halloween costumes were traditionally modeled after figures such as vampires, ghosts, skeletons, scary looking witches, and devils.[64] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses. Halloween shop in Derry, Northern Ireland, selling masks Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[152] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[173] In Ireland and Scotland, the masks are known as 'false faces',[38][187] a term recorded in Ayr, Scotland in 1890 by a Scot describing guisers: "I had mind it was Halloween . . . the wee callans were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand)".[38] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[178][188] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[189][190] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[64] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[191][192] The yearly New York's Village Halloween Parade was begun in 1974; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[193] Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[194] Such and other potentially offensive costumes have been met with increasing public disapproval.[195][196] Pet costumes According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumblebee in third place.[197] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[198] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[125] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[199] Some also suggest that they derive from Roman practices in celebration of Pomona.[64] Children bobbing for apples at Hallowe'en The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[200] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[201] Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[202][203] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[204][205] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[206] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[207] The custom was widespread enough to be commemorated on greeting cards[208] from the late 19th century and early 20th century. Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[209][210][211][212] The game features prominently in the James Joyce short story "Clay" (1914).[213][214][215] In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[216] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[110] Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Main article: Haunted attraction (simulated) Humorous tombstones in front of a house in California Humorous display window in Historic 25th Street, Ogden, Utah Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[217] and the level of sophistication of the effects has risen as the industry has grown. The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[218][219] The House still exists, in the Hollycombe Steam Collection. It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[220] The haunted house as an American cultural icon can be attributed to the opening of The Haunted Mansion in Disneyland on 12 August 1969.[221] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[222] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[223] The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[224] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[225] On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle (Six Flags Great Adventure) caught fire. As a result of the fire, eight teenagers perished.[226] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[227][228] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[229][230][231] In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[232] The theme park haunts are by far the largest, both in scale and attendance.[233] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[234] A candy apple Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[235] While there is evidence of such incidents,[236] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[237] One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[238] It is considered fortunate to be the lucky one who finds it.[238] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. A jack-o'-lantern Halloween cake with a witches hat List of foods associated with Halloween: Barmbrack (Ireland) Bonfire toffee (Great Britain) Candy apples/toffee apples (Great Britain and Ireland) Candy apples, candy corn, candy pumpkins (North America) Chocolate Monkey nuts (peanuts in their shells) (Ireland and Scotland) Caramel apples Caramel corn Colcannon (Ireland; see below) Halloween cake Sweets/candy Novelty candy shaped like skulls, pumpkins, bats, worms, etc. Roasted pumpkin seeds Roasted sweet corn Soul cakes Pumpkin Pie Christian religious observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[239] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day and serving pancakes or colcannon instead.[240] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[241] The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[242] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[243][244] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[245][246] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[247][248] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[249] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[250][251] Some of these practices include praying, fasting and attending worship services.[1][2][3] O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[252] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[253] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[254] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[255] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[256] Others order Halloween-themed Scripture Candy to pass out to children on this day.[257][258] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[259] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[260] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[261] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[262] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[263] In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools in the United States.[264][265] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[266] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[267] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[268] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[269] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[270] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[271] Purim has sometimes been compared to Halloween, in part due to some observants wearing costumes, especially of Biblical figures described in the Purim narrative.[272] Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[273] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[274][275] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[276] Hinduism Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[277] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[278] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[279] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[280] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[281] and "avoid Halloween, because of the interruptions from trick or treaters".[282] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[280] Geography Main article: Geography of Halloween Halloween display in Kobe, Japan The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[172][283][284] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[285] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[172] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Brazil, Ecuador, Chile,[286] Australia,[287] New Zealand,[288] (most) continental Europe, Finland,[289] Japan, and other parts of East Asia." (wikpedia.org) "Industrial style or industrial chic refers to an aesthetic trend in interior design that takes cues from old factories and industrial spaces that in recent years have been converted to lofts and other living spaces.[1] Components of industrial style include weathered wood, building systems, exposed brick, industrial lighting fixtures and concrete.[2] This aesthetic became popular in the late 2000s and remained popular in the 2010s.[3] Industrial style can also be seen in the use of unexpected materials used in building. Shipping containers are now being used in architecture for homes and commercial spaces. The Industrial style of design is most commonly found in urban areas including cities and lofts. These are prime locations because they provide almost a blank space for homeowners to get started with a fresh canvas. These locations also contain some of the key elements used to achieve this style of design including exposed bricks and pipes, concrete flooring, and large open windows. These elements help give the space a “warehouse” feel which is the ultimate goal of this style of design. This style incorporates raw materials to give the space an unfinished feel. To achieve an industrial feel, a natural color palette is most commonly used. A mix of grays, neutrals and rustic colors can be seen in these spaces. These simple colors allow for the use of furniture and other accessories to help liven up the room. Also, having the walls a neutral color allows for open areas like lofts to feel bigger and more connected while giving furniture the opportunity to help create a natural flow of the room. Large sectionals are a staple item in any industrial style room. This is because of their ability to help close off larger spaces and help divide up the living areas. This is important because spaces like lofts tend to be very open. In order to create the illusion of multiple rooms, a sectional can help block the flow and define a separate living area. As far as lighting goes, floor lamps are trending. Any light fixture with metal finishes fits right into this style. Large open windows also help bring natural light into the space which can be very beneficial for smaller spaces. Overhead light fixtures can also give the area an industrial ambiance, especially in the kitchen. To tie into the industrial theme, many homeowners resort to a kitchen island. These islands tend to be made of reclaimed wood or other earthy materials. A kitchen island can also contribute in separating a big room and providing a defined kitchen area. They can be paired with barstools that are made of wood or contain metal finishes. Open faced shelving and storage are big hits when it comes to an industrial kitchen. Free standing metal racks can also provide extra storage and can be beneficial in smaller rooms. If they have wheels, they can multitask. For example, low shelving on wheels can serve as a computer desk one day; the next day it can stand-in as a bar cart. Exposed overhead beams, brick and concrete are notable accents to the kitchen along with darker cabinets and shelving. Lighter colored floors or polished concrete are ways to incorporate this style into any kitchen. To modernize this rather rustic look, decorative tiles look great in the kitchen. Tile as a backsplash can help create a modern twist and help liven up the space." (wikipedia.org) "Rustic Modern or rustic chic is a style of interior design that uses of historical period room installations or furniture within a more modern overall room design. Rustic modern style blanket chest Use of the term "Rustic Modern" in the 20th century Perhaps the first use of the term "Rustic Modern" in popular culture came in the press following the burial of movie star Marilyn Monroe. On August 8, 1962, United Press International published a release out of West Los Angeles regarding the services for the actress that stated, "thousands of spectators were expected to throng the area around the small 'rustic modern' chapel and mausoleum where the 36-year-old-actress will be entombed."[1] In 2000 author Ali Hanan released a book entitled Modern Rustic: Natural Ideas for a Contemporary Lifestyle on the subject of the method of interior design in which he wrote that "creating the rustic modern look is an organic process that takes time and commitment. Some decorative touches ... may take some effort tracking down, but the end result is timeless".[2] Reception in the 21st century The concept of Rustic Modern interior design received increased attention after 2000, especially in the State of California.[3] This incarnation of the design method includes design elements alternatively known as "kitsch" that represent eras of design in the 20th century such as chalkboards or twig racks alongside modern conveniences like reduced energy lighting and other state-of-the-art design elements.[3] Between 2011 and 2012 the trend took off, particularly in the San Diego area, where many commercial establishments such as bars and restaurants have opted to redesign their properties according to the design style.[4] This particular incarnation has been described by Kitchens Magazine as composed of "earth tones and light weight and/or sustainably harvested woods" that imbue the idea that home owners do not "take themselves too seriously".[5] The style trend began to spread outside of the California region and into the rest of the United States during the 2011-12 period,[6] a movement most closely linked to the San Diego design firm Jackson Design & Remodeling—who won a 2011 American Society of Interior Designers Design Excellence Award for its work within the design method.[7] The design method is used for both the creation of room design in new homes and the restoration of older homes in an effort to keep their original charm while updating their utility for modern families." (wikipedia.org) "A flowerpot, planter, planterette or plant pot, is a container in which flowers and other plants are cultivated and displayed. Historically, and still to a significant extent today, they are made from plain terracotta with no ceramic glaze, with a round shape, tapering inwards. Flowerpots are now often also made from plastic, metal, wood, stone, or sometimes biodegradable material. An example of biodegradable pots are ones made of heavy brown paper, cardboard, or peat moss in which young plants for transplanting are grown. For seedling starting in commercial greenhouses or polytunnels, pots usually take the form of trays with cells, each cell acting as one small pot. These trays are often called flats. There are usually holes in the bottom of pots, to allow excess water to flow out,[1] sometimes to a saucer that is placed under the flowerpot. The plant can use this water with its roots, as needed. Recently,[when?] some flowerpots have been made with an automatic watering system, using a reservoir.[citation needed] Purpose Flowerpots have a number of uses such as transporting plants to new locations, starting seeds, patio and indoor cultivation of plants, and the growing of tender plants in colder regions indoors.[2] Through the centuries, the use of flowerpots has influenced the horticultural use of plants, and the Egyptians were among the first to use pots to move plants from one location to another. The Romans brought potted plants inside during cold weather. In the 18th century, pots were used to ship breadfruit seedlings from Tahiti to the West Indies. Also Orchids, African violets and Pelargonium geraniums were shipped in pots from other parts of the world, including Africa, to North America and Europe.[3] In the 18th century, Josiah Wedgwood's flowerpots or cachepots, were very popular; they were often highly decorative and used as table centrepieces.[4] In Athens, earthenware flowerpots were thrown into the sea during the festival of the Gardens of Adonis. Theophrastus, c. 371 – c. 287 BC, mentions that a plant called southern-wood was raised and propagated in pots because it was difficult to grow.[5] The top of the flowerpot underneath the rim is commonly known as the shoulder or collar and can aid handling. Classification Flower pots were traditionally[when?] made from terracotta. They were made and sold by the cast, which is the number of pots produced from a given quantity of clay. The traditional sizes[6] were as follows, although others existed: Name No. to cast Top diameter (inches) Depth (inches) Ones 1 20 18 Twos 2 18 14 Fours 4 15 13 Sixes 6 13 12 Eights 8 12 11 Twelves 12 11.5 10 Sixteens 16 9.5 9 Twenty-fours 24 8.5 8 Thirty-twos 32 6 6 Forty-eights 48 4.5 5 Sixties 60 3 3.5 Seventy-twos or thimbles 72 2.5 Thumbs 80 2.5 2.5 Nineties or thumbs 90 1 Other sources give different values, and sometimes names, for the smaller pots, for example The Gardener's Everyday Log Book while agreeing on "twos" to "thirty-twos" has two different types of "sixties" and disagrees on "thumbs" and "thimbles":[7] Name Top diameter (inches) Depth (inches) Large sixties 4 3.5 Small sixties 3 3 Thumbs 2.5 2.5 Thimbles 2 2 A taller and thinner shape of pot, suitable for deep-rooting plants, was known as a long tom, a term still used. The traditional size for a long tom used for auriculas was 3 in diameter by 3.75 to 4 in depth.[8] Nursery Peat pots that are biodegradable and may be planted directly into the soil In the nursery business, plants are generally grown in round or square plastic pots. Some organisations (such as the Royal Horticultural Society) encourage the reuse of (plastic) plant pots and trays across their retail centres.[9] In some garden centres (i.e. Edibleculture), this is done by not letting the plastic growing pots leave the garden centre, and simply place the plant inside a cardboard (or newspaper[10]) sleeve for transportation. Peat pots and paper pots are also being used,[11][12] and have the advantage of facilitating transplanting[13] as they do not need to be pulled out of a container for planting purposes (rather, the whole of container and plant is directly planted). Also, for sale purposes, there is no need to recover the container as it is biodegradable and can not and does not need to be reused or recycled. Some types exist focusing on vegetables,[14] whereas other paper pot systems exist that focus on larger plants (i.e. trees, sugar cane, etc.) United States The sizes of plastic pots have been assigned an ANSI standard by the American Nursery and Landscape Association.[15] Pots designated #1–#100 nominally have the volume of that many gallons, but in fact a #1 pot has a capacity of 0.625 gallons (a "trade gallon"). There is also a Small Plant series: SP1, 6.5–8.0 in3; SP2, 13.0–15.0 in3; SP3, 20.0–30.0 in3; SP4, 51–63 in3; SP5, 93–136 in3. An SP4 pot is commonly called a "4-inch" or "quart" container.[16] Europe Plastic pots come in a number of standard sizes, with a code indicating the approximate dimensions of the diameter at the top. Code Diameter Height Volume Approx. Imperial equivalent 6F 6 cm 6 cm 2.25" 8F 8 cm 7.5 cm 3" 9F 9 cm 9 cm 3.5" 10F 10 cm 9.5 cm 0.5 L 4" 13F/14A 13 cm 12 cm 0.9 L 5.5" 15F 15 cm 14 cm 6" Size The effect of pot size on the growth of maize. The size of the pot will in part determine the size of the plants. Generally, plants planted in bigger pots will end up being larger; on average plants increase 40–45% in biomass for a doubling in pot volume.[17] This will in part be due to a higher availability of nutrients and water in larger pots, but also because roots will get less pot-bound. This does not mean that all plants will thrive better in bigger pots. Especially for succulents it is important that the soil does not stay wet for a long time, as this may cause their roots to rot. The smaller those plants are relative to the soil volume, the longer they take to use all pot water. Bonsai plants are also purposely planted in small pots, not only for aesthetics but also because the low supply of nutrients keeps the leaves smaller and the growth down. Because they are often not as drought resistant as succulents, this implies they have to be watered often. Shape Water in the soil of high pots is more easily pulled down by gravitational forces than in low pots, and hence the soil does not remain wet for a long time [18] This is relevant as plant roots of most species do not only need water, but also air (oxygen). If the potting soil is too wet plants may suffer from a lack of oxygen around the roots. Material The soil in black pots exposed to sunlight will warm up more quickly than soil in white pots. Clay pots are permeable for water and therefore water from inside the pot soil can evaporate through the walls out of the pot. Pots that are glazed or made from plastic lose less water through evaporation. If they have no holes at the bottom either, plants may suffer from remaining too wet." (wikipedia.org) "Plants are predominantly photosynthetic eukaryotes, forming the kingdom Plantae. Many are multicellular. Historically, the plant kingdom encompassed all living things that were not animals, and included algae and fungi. All current definitions exclude the fungi and some of the algae. By one definition, plants form the clade Viridiplantae (Latin for "green plants") which consists of the green algae and the embryophytes or land plants. The latter include hornworts, liverworts, mosses, lycophytes, ferns, conifers and other gymnosperms, and flowering plants. A definition based on genomes includes the Viridiplantae, along with the red algae and the glaucophytes, in the clade Archaeplastida. Green plants obtain most of their energy from sunlight, using chloroplasts derived from endosymbiosis with cyanobacteria. Chloroplasts perform photosynthesis using the pigment chlorophyll, which gives them their green colour. Some plants are parasitic and have lost the ability to produce normal amounts of chlorophyll or to photosynthesize. Plants are characterized by sexual reproduction and alternation of generations, but asexual reproduction is also common. There are about 380,000 known species of plants, of which the majority, some 260,000, produce seeds. Green plants provide a substantial proportion of the world's molecular oxygen and are the basis of most of Earth's ecosystems. Grain, fruit, and vegetables are basic human foods and have been domesticated for millennia. Plants have many cultural and other uses, such as ornaments, building materials, writing materials, and, in great variety, they have been the source of medicines. The scientific study of plants is known as botany, a branch of biology. Definition Taxonomic history Further information: Kingdom (biology) § History All living things were traditionally placed into one of two groups, plants and animals. This classification dates from Aristotle (384–322 BC), who distinguished different levels of beings in his biology,[5] based on whether living things had a "sensitive soul" or like plants only a "vegetative soul".[6] Theophrastus, Aristotle's student, continued his work in plant taxonomy and classification.[7] Much later, Linnaeus (1707–1778) created the basis of the modern system of scientific classification, but retained the animal and plant kingdoms...." (wikipedia.org) "A flower, sometimes known as a bloom or blossom, is the reproductive structure found in flowering plants (plants of the division Angiospermae). Flowers produce gametophytes, which in flowering plants consist of a few haploid cells which produce gametes. The "male" gametophyte, which produces non-motile sperm, is enclosed within pollen grains; the "female" gametophyte is contained within the ovule. When pollen from the anther of a flower is deposited on the stigma, this is called pollination. Some flowers may self-pollinate, producing seed using pollen from the same flower or a different flower of the same plant, but others have mechanisms to prevent self-pollination and rely on cross-pollination, when pollen is transferred from the anther of one flower to the stigma of another flower on a different individual of the same species. Self-pollination happens in flowers where the stamen and carpel mature at the same time, and are positioned so that the pollen can land on the flower's stigma. This pollination does not require an investment from the plant to provide nectar and pollen as food for pollinators.[1] Some flowers produce diaspores without fertilization (parthenocarpy). Flowers contain sporangia and are the site where gametophytes develop. Most flowering plants depend on animals, such as bees, moths, and butterflies, to transfer their pollen between different flowers, and have evolved to attract these pollinators by various strategies, including brightly colored, conspicuous petals, attractive scents, and the production of nectar, a food source for pollinators.[2] In this way, many flowering plants have co-evolved with pollinators be mutually dependent on services they provide to one another—in the plant's case, a means of reproduction; in the pollinator's case, a source of food.[3] After fertilization, the ovary of the flower develops into fruit containing seeds. Flowers have long been appreciated by humans for their beauty and pleasant scents, and also hold cultural significance as religious, ritual, or symbolic objects, or sources of medicine and food. Etymology Flower is from the Middle English flour, which referred to both the ground grain and the reproductive structure in plants, before splitting off in the 17th century. It comes originally from the Latin name of the Italian goddess of flowers, Flora. The early word for flower in English was blossom,[4] though it now refers to flowers only of fruit trees....Human use This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (November 2018) (Learn how and when to remove this template message) Further information: Plants in culture Chancel flowers, placed upon the altar of St. Arsatius's Church in Ilmmünster History shows that flowers have been used by humans for thousands of years, to serve a variety of purposes. An early example of this is from about 4,500 years ago in Ancient Egypt, where flowers would be used to decorate women's hair. Flowers have also inspired art time and time again, such as in Monet's Water Lilies or William Wordsworth's poem about daffodils entitled: "I Wandered Lonely as a Cloud".[131] Brazilian sailors pay floral tribute to British naval flag officer Thomas Cochrane in Westminster Abbey, 1901 In modern times, people have sought ways to cultivate, buy, wear, or otherwise be around flowers and blooming plants, partly because of their agreeable appearance and smell. Around the world, people use flowers to mark important events in their lives: For new births or christenings As a corsage or boutonniere worn at social functions or for holidays As tokens of love or esteem For wedding flowers for the bridal party, and as decorations for wedding venues As brightening decorations within the home As a gift of remembrance for bon voyage parties, welcome-home parties, and "thinking of you" gifts For funeral flowers and expressions of sympathy for the grieving For worship. In Christianity, chancel flowers often adorn churches.[132] In Hindu culture, adherents commonly bring flowers as a gift to temples[133] A woman spreading flowers over a lingam in a temple in Varanasi Flowers collected for worship of Hindu deities in morning, in West Bengal. Flowers like jasmine have been used as a replacement for traditional tea in China for centuries. Most recently many other herbs and flowers used traditionally across the world are gaining importance to preapare a range of floral tea.[citation needed] People therefore grow flowers around their homes, dedicate parts of their living space to flower gardens, pick wildflowers, or buy commercially-grown flowers from florists. Flower production and trade supports developing economies through their availability as a fair trade product.[134] View of the Tampere Central Square during the Tampere Floral Festival in July 2007. Flowers provide less food than other major plant parts (seeds, fruits, roots, stems and leaves), but still provide several important vegetables and spices. Flower vegetables include broccoli, cauliflower and artichoke. The most expensive spice, saffron, consists of dried stigmas of a crocus. Other flower spices are cloves and capers. Hops flowers are used to flavor beer. Marigold flowers are fed to chickens to give their egg yolks a golden yellow color, which consumers find more desirable; dried and ground marigold flowers are also used as a spice and colouring agent in Georgian cuisine. Flowers of the dandelion and elder are often made into wine. Bee pollen, pollen collected from bees, is considered a health food by some people. Honey consists of bee-processed flower nectar and is often named for the type of flower, e.g. orange blossom honey, clover honey and tupelo honey. Hundreds of fresh flowers are edible, but only few are widely marketed as food. They are often added to salads as garnishes. Squash blossoms are dipped in breadcrumbs and fried. Some edible flowers include nasturtium, chrysanthemum, carnation, cattail, Japanese honeysuckle, chicory, cornflower, canna, and sunflower.[135] Edible flowers such as daisy, rose, and violet are sometimes candied.[136] Flowers such as chrysanthemum, rose, jasmine, Japanese honeysuckle, and chamomile, chosen for their fragrance and medicinal properties, are used as tisanes, either mixed with tea or on their own.[137] Flowers have been used since prehistoric times in funeral rituals: traces of pollen have been found on a woman's tomb in the El Miron Cave in Spain.[138] Many cultures draw a connection between flowers and life and death, and because of their seasonal return flowers also suggest rebirth, which may explain why many people place flowers upon graves. The ancient Greeks, as recorded in Euripides's play The Phoenician Women, placed a crown of flowers on the head of the deceased;[139] they also covered tombs with wreaths and flower petals. Flowers were widely used in ancient Egyptian burials,[140] and the Mexicans to this day use flowers prominently in their Day of the Dead celebrations[141] in the same way that their Aztec ancestors did. Eight Flowers, a painting by artist Qian Xuan, 13th century, Palace Museum, Beijing. Giving Flower market – Detroit's Eastern Market The flower-giving tradition goes back to prehistoric times when flowers often had a medicinal and herbal attributes. Archaeologists found in several grave sites remnants of flower petals. Flowers were first used as sacrificial and burial objects. Ancient Egyptians and later Greeks and Romans used flowers. In Egypt, burial objects from the time around 1540 BC[citation needed] were found, which depicted red poppy, yellow Araun, cornflower and lilies. Records of flower giving appear in Chinese writings and Egyptian hieroglyphics, as well as in Greek and Roman mythology. The practice of giving a flower flourished in the Middle Ages when couples showed affection through flowers. The tradition of flower-giving exists in many forms. It is an important part of Russian culture and folklore. It is common for students to give flowers to their teachers. To give yellow flowers in a romantic relationship means break-up in Russia. Nowadays, flowers are often given away in the form of a flower bouquet." (wikipedia.org) "A jack-o'-lantern (or jack o'lantern) is a carved lantern, most commonly made from a pumpkin or a root vegetable such as a rutabaga or turnip.[1] Jack-o'-lanterns are associated with the Halloween holiday. Its name comes from the reported phenomenon of strange lights flickering over peat bogs, called will-o'-the-wisps or jack-o'-lanterns. The name is also tied to the Irish legend of Stingy Jack, a drunkard who bargains with Satan and is doomed to roam the Earth with only a hollowed turnip to light his way. Jack-o'-lanterns carved from pumpkins are a yearly Halloween tradition that developed in the United States when Celtic Americans brought their root vegetable carving tradition with them.[2] It is common to see jack-o'-lanterns used as external and internal decorations prior to and on Halloween. To make a jack-o'-lantern, the top of a pumpkin or turnip is cut off to form a lid, the inside flesh is scooped out, and an image—usually a "scary" or "funny" face—is carved out of the rind to expose the hollow interior. A light source, traditionally a flames from a candle or tealight, is placed within before the lid is closed. Artificial jack-o'-lanterns with electric lights are also marketed. Etymology An assortment of carved pumpkins. The term jack-o'-lantern was originally used to describe the visual phenomenon ignis fatuus (lit., "foolish fire") known as a will-o'-the-wisp in English folklore.[3] Used especially in East England, its earliest known use dates to the 1660s.[4] History A plaster cast of a traditional Irish Jack-o'-Lantern in the Museum of Country Life, Ireland. Rutabaga or turnip were often used. Modern carving of a Cornish Jack-o'-Lantern made from a turnip. Origin The carving of vegetables has been a common practice in many parts of the world. It is believed that the custom of making jack-o'-lanterns at Halloween time began in the British Isles. [5][6][7] In the 19th century, "turnips or mangel wurzels, hollowed out to act as lanterns and often carved with grotesque faces," were used on Halloween in parts of Ireland and the Scottish Highlands.[8] In these Gaelic-speaking regions, Halloween was also the festival of Samhain and was seen as a time when supernatural beings (the Aos Sí), and the souls of the dead, walked the earth. Jack-o'-lanterns were also made at Halloween time in Somerset, England (see Punkie Night) during the 19th century.[8] By those who made them, the lanterns were said to represent either spirits or supernatural beings,[8] or were used to ward off evil spirits.[9] For example, sometimes they were used by Halloween participants to frighten people,[9][10][11] and sometimes they were set on windowsills to keep harmful spirits out of one's home.[10] It has also been suggested that the jack-o'-lanterns originally represented Christian souls in purgatory, as Halloween is the eve of All Saints' Day (1 November)/All Souls' Day (2 November).[12] On January 16 in 1836, the Dublin Penny Journal published a long story on the legend of "Jack-o'-the-Lantern", although this does not mention the lantern being carved from a vegetable.[13] In 1837, the Limerick Chronicle refers to a local pub holding a carved gourd competition and presenting a prize to "the best crown of Jack McLantern". The term "McLantern" also appears in an 1841 publication of the same paper.[citation needed] There is also evidence that turnips were used to carve what was called a "Hoberdy's Lantern" in Worcestershire, England, at the end of the 18th century. The folklorist Jabez Allies outlines other derivations of the name, "Hobany's", which is most likely derived from "Hob and his", with other variations including "Hob-o'-Lantern", "Hobbedy's Lantern" and "Hobbady-lantern".[14] In North America Adaptations of Washington Irving's short story "The Legend of Sleepy Hollow" (1820) often show the Headless Horseman with a pumpkin or jack-o'-lantern in place of his severed head. (In the original story, a shattered pumpkin is discovered next to Ichabod Crane's abandoned hat on the morning after Crane's supposed encounter with the Horseman.) The application of the term to carved pumpkins in American English is first seen in 1834.[15] The carved pumpkin lantern's association with Halloween is recorded in the 1 November 1866 edition of the Daily News (Kingston, Ontario): The old time custom of keeping up Hallowe'en was not forgotten last night by the youngsters of the city. They had their maskings and their merry-makings, and perambulated the streets after dark in a way which was no doubt amusing to themselves. There was a great sacrifice of pumpkins from which to make transparent heads and face, lighted up by the unfailing two inches of tallow candle.[16] James Fenimore Cooper wrote a nautical novel titled The Jack O'lantern (le Feu-Follet), Or the Privateer (1842). The Jack O'lantern was the name of the ship.[17] The poet John Greenleaf Whittier, who was born in Massachusetts in 1807, wrote the poem "The Pumpkin" (1850):[18] Oh!—fruit loved of boyhood!—the old days recalling, When wood-grapes were purpling and brown nuts were falling! When wild, ugly faces we carved in its skin, Glaring out through the dark with a candle within! In 1879's Funny Nursery Rhymes, a poem admonishes children to avoid being similar to untrustworthy "Master Jack o' Lantern," described as a "wicked, deceiving boy" similar to a will-o'-the-wisp who "dances, and jumps, and gambols." He is humorously illustrated as a personification of a lantern.[19] Agnes Carr Sage, in the article, "Halloween Sports and Customs" (Harper's Young People (1885):[20] It is an ancient British custom to light great bonfires (Bone-fire to clear before Winter froze the ground) on Hallowe'en, and carry blazing fagots about on long poles; but in place of this, American boys delight in the funny grinning jack-o'-lanterns made of huge yellow pumpkins with a candle inside. In the United States, the carved pumpkin was first associated with the harvest season in general, long before it became a symbol of Halloween.[21] In 1895, an article on Thanksgiving entertaining recommended a lit jack-o'-lantern as part of the festivities.[21][22] Folklore A commercial "R.I.P." pattern. Halloween jack-o'-lantern. Pumpkin projected onto the wall. The story of the jack-o'-lantern comes in many forms and is similar to the story of Will-o'-the-wisp[23] retold in different forms across Western Europe,[24] including, Italy, Norway, Spain and Sweden.[25] In Switzerland, children will leave bowls of milk or cream out for mythical house spirits called Jack o' the bowl.[26] An old Irish folk tale from the mid-18th century tells of Stingy Jack, a lazy yet shrewd blacksmith who uses a cross to trap Satan. One story says that Jack tricked Satan into climbing an apple tree, and once he was up there, Jack quickly placed crosses around the trunk or carved a cross into the bark, so that Satan couldn't get down.[27] Another version[citation needed] of the story says that Jack was getting chased by some villagers from whom he had stolen. He then met Satan, who claimed it was time for him to die. However, the thief stalled his death by tempting Satan with a chance to bedevil the church-going villagers chasing him. Jack told Satan to turn into a coin with which he would pay for the stolen goods (Satan could take on any shape he wanted); later, when the coin (Satan) disappeared, the Christian villagers would fight over who had stolen it. The Devil agreed to this plan. He turned himself into a silver coin and jumped into Jack's wallet, only to find himself next to a cross Jack had also picked up in the village. Jack closed the wallet tight, and the cross stripped the Devil of his powers; and so he was trapped. In both folktales, Jack lets Satan go only after he agrees to never take his soul. Many years later, the thief died, as all living things do. Of course, Jack's life had been too sinful for him to go to Heaven; however, Satan had promised not to take his soul, and so he was barred from Hell as well.[28] Jack now had nowhere to go. He asked how he would see where to go, as he had no light, and Satan mockingly tossed him a burning coal, to light his way. Jack carved out one of his turnips (which were his favorite food), put the coal inside it, and began endlessly wandering the Earth for a resting place.[28] He became known as "Jack of the Lantern", or jack o'lantern. Cornish folklorist Dr. Thomas Quiller Couch (d. 1884) recorded the use of the term in a rhyme used in Polperro, Cornwall, in conjunction with Joan the Wad, the Cornish version of Will-o'-the-wisp. The people of Polperro regarded them both as pixies. The rhyme goes:[29] Jack o' the lantern! Joan the wad, Who tickled the maid and made her mad Light me home, the weather's bad. Jack-o-lanterns were also a way of protecting one's home against the undead. Superstitious people[30] used them specifically to ward off vampires. They thought this because it was said that the jack-o-lantern's light was a way of identifying vampires who, once their identity was known, would give up their hunt for you. Pumpkin craft A jack-o'-lantern Sections of the pumpkin or turnip are cut out to make holes, often depicting a face, which may be either cheerful, scary, or comical.[31] World records For a long time, Keene, New Hampshire, held the world record for most jack-o'-lanterns carved and lit in one place. The Life is Good Company teamed up with Camp Sunshine,[32] a camp for children with life-threatening illnesses and their families, to break the record. A record was set on October 21, 2006, when 30,128 jack-o'-lanterns were simultaneously lit on Boston Common in downtown Boston, Massachusetts.[33] Highwood, Illinois, tried to set the record on October 31, 2011, with an unofficial count of 30,919 but did not follow the Guinness regulations, so the achievement did not count.[34] On October 19, 2013, Keene broke the Boston record and reclaimed the world record for most lit jack-o'-lanterns on display (30,581). The town has now broken the record eight times since the original attempt." (wikipedia.org) "Trick-or-treating is a traditional Halloween custom for children and adults in some countries. During the evening of Halloween, on October 31, people in costumes travel from house to house, asking for treats with the phrase "trick or treat". The "treat" is some form of confectionery, usually candy/sweets, although in some cultures money is given instead. The "trick" refers to a threat, usually idle, to perform mischief on the resident(s) or their property if no treat is given. Some people signal that they are willing to hand out treats by putting up Halloween decorations outside their doors; houses may also leave their porch lights on as a universal indicator that they have candy; some simply leave treats available on their porches for the children to take freely, on the honor system. The history of trick-or-treating traces back to Scotland and Ireland, where the tradition of guising, going house to house at Halloween and putting on a small performance to be rewarded with food or treats, goes back at least as far as the 16th century, as does the tradition of people wearing costumes at Halloween. There are many accounts from 19th-century Scotland and Ireland of people going house to house in costume at Halloween, reciting verses in exchange for food, and sometimes warning of misfortune if they were not welcomed.[1][2] In North America, the earliest known occurrence of guising – children going from house to house for food or money while disguised in costume[2] – is from 1911, when children were recorded as having done this in the province of Ontario, Canada.[3] The interjection "trick or treat!" was then first recorded in the same Canadian province of Ontario in 1917. While going house to house in costume has long been popular among the Scots and Irish, it is only in the 2000s that saying "trick or treat" has become common in Scotland and Ireland.[4] Prior to this, children in Ireland would commonly say "help the Halloween party" at the doors of homeowners.[4] The activity is prevalent in the Anglospheric countries of the United Kingdom, Ireland, the United States, Canada, and Australia. It also has extended into Mexico. In northwestern and central Mexico, the practice is called calaverita (Spanish diminutive for calavera, "skull" in English), and instead of "trick or treat", the children ask, "¿Me da mi calaverita?" ("[Can you] give me my little skull?"), where a calaverita is a small skull made of sugar or chocolate. History Ancient precursors Traditions similar to the modern custom of trick-or-treating extend all the way back to classical antiquity, although it is extremely unlikely that any of them are directly related to the modern custom. The ancient Greek writer Athenaeus of Naucratis records in his book The Deipnosophists that, in ancient times, the Greek island of Rhodes had a custom in which children would go from door-to-door dressed as swallows, singing a song, which demanded the owners of the house to give them food and threatened to cause mischief if the owners of the house refused.[5][6][7] This tradition was claimed to have been started by the Rhodian lawgiver Cleobulus.[8] Souling Since the Middle Ages, a tradition of mumming on a certain holiday has existed in parts of Britain and Ireland. It involved going door-to-door in costume, performing short scenes or parts of plays in exchange for food or drink. The custom of trick-or-treating on Halloween may come from the belief that supernatural beings, or the souls of the dead, roamed the earth at this time and needed to be appeased. "A soul-cake, a soul-cake, have mercy on all Christian souls for a soul-cake." — a popular English souling rhyme[9] It may otherwise have originated in a Celtic festival, Samhain, held on 31 October–1 November, to mark the beginning of winter, in Ireland, Scotland and the Isle of Man, and Calan Gaeaf in Wales, Cornwall, and Brittany. The festival is believed to have pre-Christian roots. In the 9th century, the Catholic Church made 1 November All Saints' Day. Among Celtic-speaking peoples, it was seen as a liminal time, when the spirits or fairies (the Aos Sí), and the souls of the dead, came into our world and were appeased with offerings of food and drink. Similar beliefs and customs were found in other parts of Europe. It is suggested that trick-or-treating evolved from a tradition whereby people impersonated the spirits, or the souls of the dead, and received offerings on their behalf. S. V. Peddle suggests they "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[10] Impersonating these spirits or souls was also believed to protect oneself from them.[11] Starting as far back as the 15th century, among Christians, there had been a custom of sharing soul-cakes at Allhallowtide (October 31 through November 2).[12][13] People would visit houses and take soul-cakes, either as representatives of the dead, or in return for praying for their souls.[14] Later, people went "from parish to parish at Halloween, begging soul-cakes by singing under the windows some such verse as this: 'Soul, souls, for a soul-cake; Pray you good mistress, a soul-cake!'"[15] They typically asked for "mercy on all Christian souls for a soul-cake".[16] It was known as 'Souling' and was recorded in parts of Britain, Flanders, southern Germany, and Austria.[17] Shakespeare mentions the practice in his comedy The Two Gentlemen of Verona (1593), when Speed accuses his master of "puling [whimpering or whining] like a beggar at Hallowmas".[18] In western England, mostly in the counties bordering Wales, souling was common.[13] According to one 19th century English writer "parties of children, dressed up in fantastic costume […] went round to the farm houses and cottages, singing a song, and begging for cakes (spoken of as "soal-cakes"), apples, money, or anything that the goodwives would give them".[19] Guising "Guising" redirects here. For other uses, see Guising (disambiguation). Halloween shop in Derry, Northern Ireland. Halloween masks are called ‘false faces’ in Ireland and Scotland. In Scotland and Ireland, "guising" – children going from door to door in disguise – is traditional, and a gift in the form of food, coins or "apples or nuts for the Halloween party" (and in more recent times, chocolate) is given out to the children.[4][20][21] The tradition is called "guising" because of the disguises or costumes worn by the children.[2][22] In the West Mid Scots dialect, guising is known as "galoshans".[23] In Scotland, youths went house to house in white with masked, painted or blackened faces, reciting rhymes and often threatening to do mischief if they were not welcomed.[24][25] Guising has been recorded in Scotland since the 16th century, often at New Year. The Kirk Session records of Elgin name men and women who danced at New Year 1623. Six men, described as guisers or "gwysseris" performed a sword dance wearing masks and visors covering their faces in the churchyard and in the courtyard of a house. They were each fined 40 shillings.[26] A record of guising at Halloween in Scotland in 1895 describes masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[27] In Ireland, children in costumes would commonly say "Help the Halloween Party" at the doors of homeowners.[4][28] Halloween masks are referred to as "false faces" in Ireland and Scotland.[29][30] A writer using Scots language recorded guisers in Ayr, Scotland in 1890: I had mind it was Halloween . . . the wee callans were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand).[30] Guising also involved going to wealthy homes, and in the 1920s, boys went guising at Halloween up to the affluent Thorntonhall, South Lanarkshire.[31] An account of guising in the 1950s in Ardrossan, North Ayrshire, records a child receiving 12 shillings and sixpence, having knocked on doors throughout the neighbourhood and performed.[32] Growing up in Derry, Northern Ireland in the 1960s, The Guardian journalist Michael Bradley recalls children asking, “Any nuts or apples?”.[33] In Scotland and Ireland, the children are only supposed to receive treats if they perform a party trick for the households they go to. This normally takes the form of singing a song or reciting a joke or a funny poem which the child has memorised before setting out.[32][20] While going from door to door in disguise has remained popular among Scots and Irish at Halloween, the North American saying "trick-or-treat" has become common in the 2000s.[4][28] Spread to North America Girl in a Halloween costume in 1928 in Ontario, Canada, the same province where the Scottish Halloween custom of "guising" is first recorded in North America The earliest known occurrence of the practice of guising at Halloween in North America is from 1911, when a newspaper in Kingston, Ontario, Canada reported on children going "guising" around the neighborhood.[3] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book length history of the holiday in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America"; "The taste in Hallowe'en festivities now is to study old traditions, and hold a Scotch party, using Burn's poem Hallowe'en as a guide; or to go a-souling as the English used. In short, no custom that was once honored at Hallowe'en is out of fashion now."[34] Kelley lived in Lynn, Massachusetts, a town with 4,500 Irish immigrants, 1,900 English immigrants, and 700 Scottish immigrants in 1920.[35] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Hallowe'en customs in the United States are borrowed directly or adapted from those of other countries".[36] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[37] The emergence of "Trick or treat!" The interjection "Trick or treat!" — a request for sweets or candy, originally and sometimes still with the implication that anyone who is asked and who does not provide sweets or other treats will be subjected to a prank or practical joke — seems to have arisen in central Canada, before spreading into the northern and western United States in the 1930s and across the rest of the United States through the 1940s and early 1950s.[38] Initially it was often found in variant forms, such as "tricks or treats," which was used in the earliest known case, a 1917 report in The Sault Daily Star in Sault Ste. Marie, Ontario:[39] Almost everywhere you went last night, particularly in the early part of the evening, you would meet gangs of youngsters out to celebrate. Some of them would have adopted various forms of "camouflage" such as masks, or would appear in long trousers and big hats or with long skirts. But others again didn't. . . . "Tricks or treats" you could hear the gangs call out, and if the householder passed out the "coin" for the "treats" his establishment would be immune from attack until another gang came along that knew not of or had no part in the agreement.[40] As shown by word sleuth Barry Popik,[41] who also found the first use from 1917,[39] variant forms continued, with "trick or a treat" found in Chatsworth, Ontario in 1921,[42] "treat up or tricks" and "treat or tricks" found in Edmonton, Alberta in 1922,[43] and "treat or trick" in Penhold, Alberta in 1924.[44] The now canonical form of "trick or treat" was first seen in 1917 in Chatsworth, only one day after the Sault Ste. Marie use,[45] but "tricks or treats" was still in use in the 1966 television special, It's the Great Pumpkin, Charlie Brown.[41] The thousands of Halloween postcards produced between the start of the 20th century and the 1920s commonly show children but do not depict trick-or-treating.[46] The editor of a collection of over 3,000 vintage Halloween postcards writes, "There are cards which mention the custom [of trick-or-treating] or show children in costumes at the doors, but as far as we can tell they were printed later than the 1920s and more than likely even the 1930s. Tricksters of various sorts are shown on the early postcards, but not the means of appeasing them".[47] Trick-or-treating does not seem to have become a widespread practice until the 1930s, with the first U.S. appearance of the term in 1932,[48] and the first use in a national publication occurring in 1939.[49] Behavior similar to trick-or-treating was more commonly associated with Thanksgiving from 1870 (shortly after that holiday's formalization) until the 1930s. In New York City, a Thanksgiving ritual known as Ragamuffin Day involved children dressing up as beggars and asking for treats, which later evolved into dressing up in more diverse costumes.[50][51] Increasing hostility toward the practice in the 1930s eventually led to the begging aspects being dropped, and by the 1950s, the tradition as a whole had ceased. Increased popularity Almost all pre-1940 uses of the term "trick-or-treat" are from the United States and Canada. Trick-or-treating spread throughout the United States, stalled only by World War II sugar rationing that began in April, 1942 and lasted until June, 1947.[52][53] Magazine advertisement in 1962 Early national attention to trick-or-treating was given in October, 1947 issues of the children's magazines Jack and Jill and Children's Activities,[54] and by Halloween episodes of the network radio programs The Baby Snooks Show in 1946 and The Jack Benny Show and The Adventures of Ozzie and Harriet in 1948.[55] Trick-or-treating was depicted in the Peanuts comic strip in 1951.[56] The custom had become firmly established in popular culture by 1952, when Walt Disney portrayed it in the cartoon Trick or Treat, and Ozzie and Harriet were besieged by trick-or-treaters on an episode of their television show.[57] In 1953 UNICEF first conducted a national campaign for children to raise funds for the charity while trick-or-treating.[58] Although some popular histories of Halloween have characterized trick-or-treating as an adult invention to re-channel Halloween activities away from Mischief Night vandalism, there are very few records supporting this. Des Moines, Iowa is the only area known to have a record of trick-or-treating being used to deter crime.[59] Elsewhere, adults, as reported in newspapers from the mid-1930s to the mid-1950s, typically saw it as a form of extortion, with reactions ranging from bemused indulgence to anger.[60] Likewise, as portrayed on radio shows, children would have to explain what trick-or-treating was to puzzled adults, and not the other way around. Sometimes even the children protested: for Halloween 1948, members of the Madison Square Boys Club in New York City carried a parade banner that read "American Boys Don't Beg."[61] The National Confectioners Association reported in 2005 that 80 percent of adults in the United States planned to give out confectionery to trick-or-treaters,[62] and that 93 percent of children, teenagers, and young adults planned to go trick-or-treating or participating in other Halloween activities.[63] Phrase introduction to the UK and Ireland Despite the concept of trick-or-treating originating in Britain and Ireland in the form of souling and guising, the use of the term "trick or treat" at the doors of homeowners was not common until the 1980s, with its popularisation in part through the release of the film E.T.[64] Guising requires those going door-to-door to perform a song or poem without any jocular threat,[32] and according to one BBC journalist, in the 1980s, "trick or treat" was still often viewed as an exotic and not particularly welcome import, with the BBC referring to it as "the Japanese knotweed of festivals" and "making demands with menaces".[65] In Ireland before the phrase "trick or treat" became common in the 2000s, children would say "Help the Halloween Party".[4] Very often, the phrase "trick or treat" is simply said and the revellers are given sweets, with the choice of a trick or a treat having been discarded. Etiquette Two children trick-or-treating on Halloween in Arkansas, United States Trick-or-treating typically begins at dusk on October 31. Some municipalities choose other dates.[66][67][68][69][70][71] Homeowners wishing to participate sometimes decorate their homes with artificial spider webs, plastic skeletons and jack-o-lanterns. Conversely, those who do not wish to participate may turn off outside lights for the evening or lock relevant gates and fences to keep people from coming onto their property. In most areas where trick-or-treating is practiced, it is considered an activity for children. Some jurisdictions in the United States forbid the activity for anyone over the age of 12.[72] Dressing up is common at all ages; adults will often dress up to accompany their children, and young adults may dress up to go out and ask for gifts for a charity. Local variants U.S. and Canada Children of the St. Louis, Missouri, area are expected to perform a joke, usually a simple Halloween-themed pun or riddle, before receiving any candy; this "trick" earns the "treat".[73] Children in Des Moines, Iowa also tell jokes or otherwise perform before receiving their treat. In some parts of Canada, children sometimes say "Halloween apples" instead of "trick or treat". This probably originated when the toffee apple was a popular type of candy. Apple-giving in much of Canada, however, has been taboo since the 1960s when stories (of almost certainly questionable authenticity) appeared of razors hidden inside Halloween apples; parents began to check over their children's fruit for safety before allowing them to eat it. In Quebec, children also go door to door on Halloween. However, in French-speaking neighbourhoods, instead of "Trick or treat", they will simply say "Halloween", though it traditionally used to be "La charité, s'il-vous-plaît" ("Charity, please").[74] Trunk-or-treat Trunk-or-treating event held at St. John Lutheran Church & Early Learning Center in Darien, Illinois Some organizations around the United States and Canada sponsor a "trunk-or-treat" on Halloween night (or, on occasion, a day immediately preceding Halloween, or a few days from it, on a weekend, depending on what is convenient). Trunk-or-treating is done from parked car to parked car in a local parking lot, often at a school or church. The activity makes use of the open trunks of the cars, which display candy, and often games and decorations. Some parents regard trunk-or-treating as a safer alternative to trick-or-treating,[75] while other parents see it as an easier alternative to walking the neighborhood with their children. This annual event began in the mid-1990s as a "fall festival" for an alternative to trick-or-treating, but became "trunk-or-treat" two decades later. Some have called for more city or community group-sponsored trunk-or-treats, so they can be more inclusive.[76] By 2006 these had become increasingly popular.[77] Portugal In Portugal, children go from house to house in All Saints Day and All Souls Day, carrying pumpkin carved lanterns called coca,[78] asking everyone they see for Pão-por-Deus singing rhymes where they remind people why they are begging, saying "...It is for me and for you, and to give to the deceased who are dead and buried"[79] or "It is to share with your deceased"[80] In the Azores the bread given to the children takes the shape of the top of a skull.[81] The tradition of pão-por-Deus was already recorded in the 15th century.[82] Scandinavia In Sweden, children dress up as witches and monsters when they go trick-or-treating on Maundy Thursday (the Thursday before Easter) while Danish children dress up in various attires and go trick-or-treating on Fastelavn (or the next day, Shrove Monday). In Norway, the practice is quite common among children, who come dressed up to people's doors asking for, mainly, candy. The Easter witch tradition is done on Palm Sunday in Finland (virvonta). Europe In parts of Flanders, some parts of the Netherlands, and most areas of Germany, Switzerland, and Austria, children go to houses with home-made beet lanterns or with paper lanterns (which can hold a candle or electronic light), singing songs about St. Martin on St. Martin's Day (the 11th of November), in return for treats.[83] The equivalent of "trick-or-treat" in German language is "Süßes oder Saures", asking for sweeties or threatening something less pleasant. In Northern Germany and Southern Denmark, children dress up in costumes and go trick-or-treating on New Year's Eve in a tradition called "Rummelpott [de]".[84] Trick-or-treat for charity UNICEF started a program in 1950 called Trick-or-Treat for UNICEF in which trick-or-treaters ask people to give money for the organization, usually instead of collecting candy. Participating trick-or-treaters say when they knock at doors "Trick-or-treat for UNICEF!"[85] This program started as an alternative to candy. The organization has long produced disposable collection boxes that state on the back what the money can be used for in developing countries. In Canada, students from the local high schools, colleges, and universities dress up to collect food donations for the local Food Banks as a form of trick-or-treating. This is sometimes called "Trick-or-Eat"." (wikipedia.org) "A paper lantern is a lantern made of thin, brightly colored paper.[1] Paper lanterns come in various shapes and sizes, as well as various methods of construction. In their simplest form, they are simply a paper bag with a candle placed inside, although more complicated lanterns consist of a collapsible bamboo or metal frame of hoops covered with tough paper. Origin Paper lanterns are likely derived from earlier lanterns that used other types of translucent material like silk, horn, or animal skin. The material covering was used to prevent the flame in the lantern from being extinguished by wind, while still retaining its use as a light source. Papermaking technology originated from China from at least AD 105 during the Eastern Han Dynasty,[2][3] but it is unknown exactly when paper became used for lanterns. Poems about paper lanterns start to appear in Chinese history at around the 6th century.[2] Paper lanterns were common by the Tang Dynasty (AD 690–705), and it was during this period that the first annual lantern festival was established.[2] From China, it was spread to neighboring cultures in East Asia, Southeast Asia, and South Asia....Americas United States Main article: Luminaria Placing candles or tea lights in a succession of small paper bags (known as luminarias or farolitos) is a common Christmas tradition in New Mexico. The tradition originated from the parol paper lanterns of the Philippines brought over to the Americas during the colonial period....Europe During the Festa della Rificolona held in Florence, Italy, children carry colourful paper lanterns through the streets of the city. In Germany, Austria, Switzerland and other German-speaking and some Dutch-speaking parts of Europe there is a tradition of the Sankt-Martins-Umzug (Sint-Maarten in Dutch), during which children parade with paper lanterns that are traditionally handmade." (wikipedia.org) "Shabby chic is a style of interior design that chooses either furniture and furnishings for their appearance of age and signs of wear and tear or distresses new ones to achieve the same result. Unlike much genuine period décor, this style features a soft, pastel-colored, cottage look. Description A dresser with a distressed finish and mismatched drawer knobs, in Shabby chic style Shabby chic furniture is often antiques that have been heavily painted through the years, with many layers showing through obviously time-worn areas. Furnishings that are not genuine relics are usually selected for their resemblance to older styles, and may be reproduction pieces with a distressed finish that is faux painted using glaze or rubbing and sanding away of a painted top coat to show the wood or base coats. Elaborate furniture appliqués depicting flower swags and garlands, cherubs, and other motifs may be added. Repurposed antique pieces of obsolete usage such as pie safes and jelly cupboards are popular in shabby chic décor.[1] Also popular are pillows made of old barkcloth fabric, vintage bed linens, chenille bedspreads, antique chandeliers, jute, and patterns of flowers, especially roses. Fabrics tend to be cottons and linens, with linen being particularly popular, inspired by old French linens. Pure whites, as well as ecrus and worn or bleached-out pastel colors, are favorites, and bleached and faded are typical descriptions, although fabric may also be stained with tea for an antique look. Vintage floral patterns with pale colors, earth tones, and cotton ticking patterns are typical of shabby chic style. Newsweek used the term shabby chic to describe the avant-garde fashion designer Martin Margiela's 1992 fall fashion show, which took place in a Salvation Army furniture store and featured models in "wrinkled jackets, baggy-kneed pants and coats with inner linings hanging down from unfinished hems."[2] The general color scheme, besides white, is soft and neutral, often sky blue, rose pink, and beige. Hints from French-style interior design often show in shabby chic homes, such as Rococo-style lighting fixtures, furniture or wall paneling. The shabby chic aesthetic also expands to the garden, with the same design principles of using timeworn garden furniture and soft-hued accessories. Rose gardens are popular with the shabby chic style of décor. Decorators consider shabby chic a relaxed, romantic style that looks comfortable, inviting, and feminine. The masculine counterpart would be "rustic," with deeper or richer colors and rustic furniture using unfinished wood, denim, burlap, sailcloth and homespun cloth.[3] Varieties of shabby chic style include: Cottage chic Beach cottage chic French country Gustavian (Swedish) History Sliding pantry door installed in a suburban home. The style started in Great Britain and evokes the type of decoration found in large country houses where there are worn and faded old chintz sofas, curtains, and paintwork and unassuming "good" taste, in understated contrast to the sentimental, overstated Victorian fashion. Though these forms were rather grand, the style has evolved to take in not just ornate decoration, as in the classic French château, but that of 18th-century Swedish and of the American Shakers, for whom simplicity and plainness was essential. Recycling old furniture and fabrics has long been an important aspect of the look and was especially popular with the modern Bohemians and artisans who made up a sidelined counterculture movement during the 1980s, when expensive quality décor became very fashionable with the upper-middle classes. Rachel Ashwell founded a furniture chain called Shabby Chic, and, in 1996, published a book around the aesthetic, which she described as "the aura of old money, cushy comfort, and crafted indifference."[4] An offshoot of shabby chic is a trend towards "relicking" of guitars and bass guitars to create a "roadworn" appearance.[5] Origin of term The phrase was used descriptively through the 20th century for both fashion and décor,[6][7][8][9] and was popularized as an interior decorating style by Min Hogg in The World of Interiors magazine in the 1980s.[citation needed] It became popular in the United States in the 1990s with a certain eclectic surge of decorating styles with paints and effects, notably in metropolitan cultural centers on the West Coast of America, such as Los Angeles and San Francisco, with heavy influences from Mediterranean cultures such as Provence, Tuscany, and Greece." (wikipedia.org) "Woodworking is the skill of making items from wood, and includes cabinetry, furniture making, wood carving, joinery, carpentry, and woodturning. History Along with stone, clay and animal parts, wood was one of the first materials worked by early humans. Microwear analysis of the Mousterian stone tools used by the Neanderthals show that many were used to work wood. The development of civilization was closely tied to the development of increasingly greater degrees of skill in working these materials. Among early finds of wooden tools are the worked sticks from Kalambo Falls, Clacton-on-Sea and Lehringen. The spears from Schöningen (Germany) provide some of the first examples of wooden hunting implements. Flint tools were used for carving. Since Neolithic times, carved wooden vessels are known, for example, from the Linear Pottery culture wells at Kückhofen and Eythra. Examples of Bronze Age wood-carving include tree trunks worked into coffins from northern Germany and Denmark and wooden folding-chairs. The site of Fellbach-Schmieden in Germany has provided fine examples of wooden animal statues from the Iron Age. Wooden idols from the La Tène period are known from a sanctuary at the source of the Seine in France....Modern day Damascene woodworkers turning wood for Mashrabiya and hookahs, 19th century With the advances in modern technology and the demands of industry, woodwork as a field has changed. The development of Computer Numeric Controlled (CNC) Machines, for example, has made it possible to mass-produce and reproduce products faster, with less waste, and often with more complex design than ever before. CNC wood routers can carve complicated and highly detailed shapes into flat stock, to create signs or art. Rechargeable power tools speed up creation of many projects and require much less body strength than in the past, for example when boring multiple holes. Skilled fine woodworking, however, remains a craft pursued by many. There remains demand for hand crafted work such as furniture and arts, however with rate and cost of production, the cost for consumers is much higher. Modern woodcarving usually refers to works of wood art produced by woodcarvers in the form of contemporary art. This type of wood carving often combines traditional techniques with more modern artistic styles and concepts.Modern woodcarving can be produced in a variety of forms and styles, from realist to abstract carvings, and often uses unusual wood materials such as rainwood or wood with unique textures to highlight the uniqueness of the work.In recent years, the art of modern wood carving has become increasingly popular among woodworkers and visual art enthusiasts not only in Asia, but also around the world. Modern woodcarving art is often exhibited in art galleries and museums, and can be seen in several global contemporary art exhibitions. Styles & Designs Woodworking, especially furniture making, has many different designs/styles. Throughout its history, woodworking designs and styles have changed. Some of the more common styles are listed below. Traditional furniture styles usually include styles that have been around for long periods of time and have shown a mark of wealth and luxury for centuries. More modern furniture styles are commonly used over the past few hundred years....Materials Historically, woodworkers relied upon the woods native to their region, until transportation and trade innovations made more exotic woods available to the craftsman. Woods are typically sorted into three basic types: hardwoods typified by tight grain and derived from broadleaf trees, softwoods from coniferous trees, and man-made materials such as plywood and MDF. Hardwoods, botanically known as angiosperms, are deciduous and shed their leaves annually with temperature changes.[9] Softwoods come from trees botanically known as gymnosperms, which are coniferous, cone-bearing, and stay green year round.[9] Although a general pattern, softwoods are not necessarily always “softer” than hardwoods, and vice versa.[10] Softwood is most commonly found in the regions of the world with lower temperatures and is typically less durable, lighter in weight, and more vulnerable to pests and fungal attacks in comparison to hardwoods. They typically have a paler color and a more open grain than hardwoods, which contributes to the tendency of felled softwood to shrink and swell as it dries.[10] Softwoods usually have a lower density, around 432–592 kg/m3, which can compromise its strength.[10] Density, however, does vary within both softwoods and hardwoods depending on the wood's geographical origin and growth rate. However, the lower density of softwoods also allows it to have a greater strength with lighter weight. In the United States, softwoods are typically cheaper and more readily available and accessible.[10] Most softwoods are suitable for general construction, especially framing, trim, and finish work, and carcassing.[11][10] Hardwoods are separated into two categories, temperate and tropical hardwoods, depending on their origin. Temperate hardwoods are found in the regions between the tropics and poles, and are of particular interest to wood workers for their cost-effective aesthetic appeal and sustainable sources.[10] Tropical hardwoods are found within the equatorial belt, including Africa, Asia, and South America. Hardwoods flaunt a higher density, around 1041 kg/m3 as a result of slower growing rates and is more stable when drying.[10] As a result of its high density, hardwoods are typically heavier than softwoods but can also be more brittle.[10] While there are an abundant number of hardwood species, only 200 are common enough and pliable enough to be used for woodworking.[12] Hardwoods have a wide variety of properties, making it easy to find a hardwood to suit nearly any purpose, but they are especially suitable for outdoor use due to their strength and resilience to rot and decay.[10] The coloring of hardwoods ranges from light to very dark, making it especially versatile for aesthetic purposes. However, because hardwoods are more closely grained, they are typically harder to work than softwoods. They are also harder to acquire in the United States and, as a result, are more expensive.[10] Woodworking hand tools used in class at the Women's Woodshop in Minneapolis, Minnesota, USA Typically furniture such as tables and chairs is made using solid stock from hardwoods due to its strength and resistance to warping.[11] Additionally, they also have a greater variety of grain patterns and color and take a finish better which allows the woodworker to exercise a great deal of artistic liberty. Hardwoods can be cut more cleanly and leave less residue on sawblades and other woodworking tools.[11] Cabinet/fixture makers employ the use of plywood and other man made panel products. Some furniture, such as the Windsor chair involve green woodworking, shaping with wood while it contains its natural moisture prior to drying." (wikipedia.org) "Wood is a structural tissue found in the stems and roots of trees and other woody plants. It is an organic material – a natural composite of cellulose fibers that are strong in tension and embedded in a matrix of lignin that resists compression. Wood is sometimes defined as only the secondary xylem in the stems of trees,[1] or it is defined more broadly to include the same type of tissue elsewhere such as in the roots of trees or shrubs.[citation needed] In a living tree it performs a support function, enabling woody plants to grow large or to stand up by themselves. It also conveys water and nutrients between the leaves, other growing tissues, and the roots. Wood may also refer to other plant materials with comparable properties, and to material engineered from wood, or woodchips or fiber. Wood has been used for thousands of years for fuel, as a construction material, for making tools and weapons, furniture and paper. More recently it emerged as a feedstock for the production of purified cellulose and its derivatives, such as cellophane and cellulose acetate. As of 2020, the growing stock of forests worldwide was about 557 billion cubic meters.[2] As an abundant, carbon-neutral[3] renewable resource, woody materials have been of intense interest as a source of renewable energy. In 2008, approximately 3.97 billion cubic meters of wood were harvested.[2] Dominant uses were for furniture and building construction." (wikipedia.org) "Luminaria is a term used in different parts of the world to describe various types of holiday lights, usually displayed during Christmas. In English, the term most commonly refers to a specific type of simple paper lantern made by placing a votive candle in some sand inside a paper bag.[1] Also known as a farolito[nb 1], it is a traditional Christmas decoration in the Southwestern United States, particularly New Mexico, where it is a cultural hallmark of the Pueblos and Hispanos of New Mexico and a part of the state's distinct heritage.[3] Luminarias are usually placed in rows along walls, roofs, and walkways to form a holiday display, especially on Christmas Eve. Electrically-lit luminarias are also used, consisting of a string of standard incandescent "Christmas lights" with the bulbs covered with a tan plastic sleeve, made to about the size and shape of a small paper bag. In Northern New Mexico, luminaria can also refer to a small stacked-wood bonfire, an older tradition which has been replaced to some extent by the paper luminarias. Residents of this region typically call the paper lanterns farolitos in order to distinguish the two types of illumination. Use of the word luminaria for paper lanterns is considered incorrect by some New Mexicans and is a frequent topic of debate. Yet another form of luminaria, a small torch or large candle, is carried by the leader of the procession of Las Posadas,[4] a nine-day holiday running December 16–24. In non-English-speaking countries such as Italy, Spain, and Japan, luminaria is used in a much more general sense to describe any type of festive light display, including bonfires, candles, and electric lights.[3] Etymology and naming disagreement Luminaria bonfires in Santa Fe, New Mexico The name of the decoration is a long-running item of contention among some New Mexicans,[5] with written accounts indicating it was already a familiar topic of debate as far back as the 1940s.[6][7] In Northern New Mexico, the term luminaria is reserved for a small festival or vigil bonfire,[8] a usage which dates back to the Spanish colonial period,[9] and the paper lantern decorations are called farolitos. Many traditionalists insist that the use of luminaria to mean a paper lantern is not correct.[5] However, this distinction is not commonly made outside of northern New Mexico.[10] In other areas where the decorations are used, they are generally referred to as luminarias. Luminaria in Spanish means "illumination", "festival light", or in ecclesiastical usage, a "lamp kept burning before the sacrament".[11] The Spanish word was derived from Latin luminare meaning a light source generally, or in a religious context, "a light, lamp, burned in the Jewish temple and in Christian churches".[12] In colonial New Mexico, the term was used to refer to a small bonfire. Luminaria as a loanword in English was first attested in the 1930s.[1] Farolito, the preferred term in northern New Mexico, is a diminutive of the Spanish word farol, meaning "lantern". According to the Santa Fe New Mexican, farolito "apparently is a purely New Mexico word".[9] Origin Main article: Parol The use of paper lanterns during the Christmas Novena procession originates from the similar parol (Spanish farol) tradition of the Philippines which use lanterns made with bamboo and Japanese paper. These were introduced to New Spain via the Manila galleons.[13][14][15][16][8] Christmas tradition Las Noches de las Luminarias, at the Desert Botanical Garden, Phoenix Praiano, Italy, Luminaria di San Domenico, August 1. Luminarias are used in seasons other than Christmas. The early versions were actually small bonfires of crisscrossed piñon branches which were built in three-foot high squares. Today, luminarias are made from brown paper bags weighted down with sand and illuminated from within by a lit candle. These are typically arranged in rows to create large and elaborate displays. The hope among Roman Catholics is that the lights will guide the spirit of the Christ child to one's home. Strings of artificial luminarias, with plastic bags illuminated by small light bulbs and connected by an electrical cord, are also available, and are common in the American Southwest, where they are typically displayed throughout the year-end holiday season. They have gained popularity in other parts of the United States.[17] New Mexico Santa Fe and Old Town Albuquerque, New Mexico, are well known for their impressive Christmas Eve farolito displays.[18] Farolito displays are common throughout New Mexico, and most communities in New Mexico have farolitos in prominent areas such as major streets or parks. Residents often line their yards, fences, sidewalks, and roofs with farolitos. Similar traditions can now also be found in many other parts of the nation. The University of New Mexico in Albuquerque, New Mexico hosts the annual Hanging of the Greens tradition with over 14,000 luminarias, hot posole, and Christmas carols.[19] New Mexico State University in Las Cruces, New Mexico holds an annual event called Noche de Luminarias in early December, which features over 10,000 luminarias across campus.[20] San Juan College in Farmington, New Mexico, organizes a large annual farolito display, most recently consisting of around 30,000 farolitos displayed on campus.[21] Elsewhere At historic Temple Square in Salt Lake City, Utah, metal luminarias decorate the grounds near the Church Office Building of the Church of Jesus Christ of Latter-day Saints.Tiny holes have been punched in the metal to create designs featuring scenes from the life of Jesus Christ and Christmas messages in a variety of languages.[22] Some of the luminaries are the traditional bag shape, while others are large cans.[23] They have been on display since before 2002, when even more were added.[24] In West Valley City, Utah, luminarias are used to light the path during the Walk with Santa held the first Monday of December every year. The display features over 300 luminarias. The American Cancer Society's Relay For Life fundraising events which are held all over the U.S. feature luminaria ceremonies.[25] Luminarias are placed around the track and some relay events spell out "HOPE" in stadium stands with luminarias. The American Foundation for Suicide Prevention's[26] Out of the Darkness Overnight[27] uses luminarias at the end of the overnight walk to memorialize those lost to suicide for survivors. Luminarias have also become popular in California in some cities. The Boy Scout Troops and Albuquerque Youth Symphony sell them around Christmas time as another form of fundraising. On Evensham Street in the Glenshire Devonshire area of Truckee, California, local residents line the streets with luminaries. See Glenshire Devonshire's web page for aerial photos. The Mantey Heights neighborhood of Grand Junction, Colorado has celebrated the luminaria tradition for several decades. Over 3,500 luminaries are placed along the roads and walkways every Christmas Eve. Many are positioned atop the parapets of the old adobe homes. In Champaign, Illinois, luminarias line South Willis Ave. between Springfield Ave. and John St. for one night each holiday season. In Galena, Illinois, luminarias line the streets of the town one night in December for their annual "Night of Luminaria."[28] In the Village of Glen Ellyn, Illinois, luminarias line the 200 block of Taylor Avenue on Christmas Eve. In Midlothian, Illinois, luminaria sets are sold to raise money for the local food pantries. About 75% of the food pantries annual budget comes from these luminaria sales and donations. After the 2008 city hall shooting in Kirkwood, Missouri, residents lined the streets with luminarias to honor the victims of the shooting. Each year for the past 22 years in Seattle, community members have placed luminarias along the path beside Lake Washington north of Seward Park. They place as many as 1800 along a three-mile stretch of the path. The placement of the luminaria are timed to coincide with the annual Christmas Ships festival organized by Argosy Cruises. In Southern Arizona at the Tumacacori Mission, 2500 luminarias are placed around the mission and lit on Christmas Eve. People from the community go to the mission on Christmas Eve and walk along the path through the church and around the grounds. It is a special tradition for the community. Other holidays In some Southwestern states, such as Arizona and Texas as well as New Mexico, luminarias are also occasionally used as Halloween decorations, sometimes featuring jack o' lantern faces drawn on the paper bags.[29] Artificial luminarias are increasingly available with holiday themed decorative patterns and in colors other than brown." (wikipedia.org) "Frankenstein; or, The Modern Prometheus is an 1818 novel written by English author Mary Shelley. Frankenstein tells the story of Victor Frankenstein, a young scientist who creates a sapient creature in an unorthodox scientific experiment. Shelley started writing the story when she was 18, and the first edition was published anonymously in London on 1 January 1818, when she was 20. Her name first appeared in the second edition, which was published in Paris in 1821. Shelley travelled through Europe in 1815, moving along the river Rhine in Germany, and stopping in Gernsheim, 17 kilometres (11 mi) away from Frankenstein Castle, where, two centuries before, an alchemist had engaged in experiments.[2][3][4][note 1] She then journeyed to the region of Geneva, Switzerland, where much of the story takes place. Galvanism and occult ideas were topics of conversation for her companions, particularly for her lover and future husband Percy Bysshe Shelley. In 1816, Mary, Percy, and Lord Byron had a competition to see who could write the best horror story.[5] After thinking for days, Shelley was inspired to write Frankenstein after imagining a scientist who created life and was horrified by what he had made.[6] Though Frankenstein is infused with elements of the Gothic novel and the Romantic movement, Brian Aldiss has argued for regarding it as the first true science-fiction story. In contrast to previous stories with fantastical elements resembling those of later science fiction, Aldiss states, the central character "makes a deliberate decision" and "turns to modern experiments in the laboratory" to achieve fantastic results.[7] The novel has had a considerable influence on literature and on popular culture; it has spawned a complete genre of horror stories, films, and plays. Since the publication of the novel, the name "Frankenstein" has often been used, erroneously, to refer to the monster, rather than to his creator/father.[8][9][10] Summary Captain Walton introductory narrative Frankenstein is a frame story written in epistolary form. It documents a fictional correspondence between Captain Robert Walton and his sister, Margaret Walton Saville. The story takes place in the eighteenth century (the letters are dated as "17-"). Robert Walton is a failed writer who sets out to explore the North Pole in hopes of expanding scientific knowledge. During the voyage, the crew spots a dog sled driven by a gigantic figure. A few hours later, the crew rescues a nearly frozen and emaciated man named Victor Frankenstein. Frankenstein has been in pursuit of the gigantic man observed by Walton's crew. Frankenstein starts to recover from his exertion; he sees in Walton the same obsession that has destroyed him and recounts a story of his life's miseries to Walton as a warning. The recounted story serves as the frame for Frankenstein's narrative. Victor Frankenstein's narrative Victor begins by telling of his childhood. Born in Naples, Italy, into a wealthy Genevan family, Victor and his younger brothers, Ernest and William, are sons of Alphonse Frankenstein and the former Caroline Beaufort. From a young age, Victor has a strong desire to understand the world. He is obsessed with studying theories of alchemists, though when he is older he realizes that such theories are considerably outdated. When Victor is five years old, his parents adopt Elizabeth Lavenza (the orphaned daughter of an expropriated Italian nobleman) whom Victor later marries. Victor's parents later take in another child, Justine Moritz, who becomes William's nanny. Weeks before he leaves for the University of Ingolstadt in Germany, his mother dies of scarlet fever; Victor buries himself in his experiments to deal with the grief. At the university, he excels at chemistry and other sciences, soon developing a secret technique to impart life to non-living matter. He undertakes the creation of a humanoid, but due to the difficulty in replicating the minute parts of the human body, Victor makes the Creature tall, about 8 feet (2.4 m) in height, and proportionally large. Despite Victor's selecting its features to be beautiful, upon animation the Creature is instead hideous, with dull and watery yellow eyes and yellow skin that barely conceals the muscles and blood vessels underneath. Repulsed by his work, Victor flees. While wandering the streets the next day, he meets his childhood friend, Henry Clerval, and takes Clerval back to his apartment, fearful of Clerval's reaction if he sees the monster. However, when Victor returns to his laboratory, the Creature is gone. Victor falls ill from the experience and is nursed back to health by Clerval. After a four-month recovery, he receives a letter from his father notifying him of the murder of his brother William. Upon arriving in Geneva, Victor sees the Creature near the crime scene and becomes convinced that his creation is responsible. Justine Moritz, William's nanny, is convicted of the crime after William's locket, which contained a miniature portrait of Caroline, is found in her pocket. Victor knows that no one will believe him if he tries to clear Justine's name, and she is hanged. Ravaged by grief and guilt, Victor retreats into the mountains. While he hikes through Mont Blanc's Mer de Glace, he is suddenly approached by the Creature, who pleads for Victor to hear his tale. The Creature's narrative Intelligent and articulate, the Creature relates his first days of life, living alone in the wilderness. He found that people were afraid of him and hated him due to his appearance, which led him to fear and hide from them. While living in an abandoned structure connected to a cottage, he grew fond of the poor family living there and discreetly collected firewood for them, cleared snow away from their path, and performed other tasks to help them. Secretly living next to the cottage for months, the Creature learned to speak by listening to them and taught himself to read after discovering a lost satchel of books in the woods. When he saw his reflection in a pool, he realized his appearance was hideous, and it horrified him as much as it horrified normal humans. As he continued to learn of the family's plight, he grew increasingly attached to them, and eventually he approached the family in hopes of becoming their friend, entering the house while only the blind father was present. The two conversed, but on the return of the others, the rest of them were frightened. The blind man's son attacked him and the Creature fled the house. The next day, the family left their home out of fear that he would return. The Creature was enraged by the way he was treated and gave up hope of ever being accepted by humans. Although he hated his creator for abandoning him, he decided to travel to Geneva to find him because he believed that Victor was the only person with a responsibility to help him. On the journey, he rescued a child who had fallen into a river, but her father, believing that the Creature intended to harm them, shot him in the shoulder. The Creature then swore revenge against all humans. He travelled to Geneva using details from Victor's journal, murdered William, and framed Justine for the crime. The Creature demands that Victor create a female companion like himself. He argues that as a living being, he has a right to happiness. The Creature promises that he and his mate will vanish into the South American wilderness, never to reappear, if Victor grants his request. Should Victor refuse, the Creature threatens to kill Victor's remaining friends and loved ones and not stop until he completely ruins him. Fearing for his family, Victor reluctantly agrees. The Creature says he will watch over Victor's progress. Victor Frankenstein's narrative resumes Clerval accompanies Victor to England, but they separate, at Victor's insistence, at Perth, Scotland. Victor suspects that the Creature is following him. Working on the female creature on Orkney, he is plagued by premonitions of disaster. He fears that the female will hate the Creature or become more evil than he is. Even more worrying to him is the idea that creating the second creature might lead to the breeding of a race that could plague humankind. He tears apart the unfinished female creature after he sees the Creature, who had indeed followed Victor, watching through a window. The Creature immediately bursts through the door to confront Victor and tries to threaten him into working again, but Victor refuses. The Creature leaves, but gives a final threat: "I will be with you on your wedding night." Victor interprets this as a threat upon his life, believing that the Creature will kill him after he finally becomes happy. Victor sails out to sea to dispose of his instruments, falls asleep in the boat, is unable to return to shore because of changes in the winds, and ends up being blown to the Irish coast. When Victor lands in Ireland, he is arrested for Clerval's murder, as the Creature had strangled Clerval and left the corpse to be found where his creator had arrived. Victor suffers another mental breakdown and wakes to find himself in prison. However, he is shown to be innocent, and after being released, he returns home with his father, who has restored to Elizabeth some of her father's fortune. In Geneva, Victor is about to marry Elizabeth and prepares to fight the Creature to the death, arming himself with pistols and a dagger. The night following their wedding, Victor asks Elizabeth to stay in her room while he looks for "the fiend". While Victor searches the house and grounds, the Creature strangles Elizabeth. From the window, Victor sees the Creature, who tauntingly points at Elizabeth's corpse; Victor tries to shoot him, but the Creature escapes. Victor's father, weakened by age and by the death of Elizabeth, dies a few days later. Seeking revenge, Victor pursues the Creature through Europe, then north into Russia, with his adversary staying ahead of him every step of the way. Eventually, the chase leads to the Arctic Ocean and then on towards the North Pole, and Victor reaches a point where he is within a mile of the Creature, but he collapses from exhaustion and hypothermia before he can find his quarry, allowing the Creature to escape. Eventually the ice around Victor's sledge breaks apart, and the resultant ice floe comes within range of Walton's ship. Captain Walton's conclusion At the end of Victor's narrative, Captain Walton resumes telling the story. A few days after the Creature vanishes, the ship becomes trapped in pack ice, and several crewmen die in the cold before the rest of Walton's crew insists on returning south once it is freed. Upon hearing the crew's demands, Victor is angered and, despite his condition, gives a powerful speech to them. He reminds them of why they chose to join the expedition and that it is hardship and danger, not comfort, that defines a glorious undertaking such as theirs. He urges them to be men, not cowards. However, although the speech makes an impression on the crew, it is not enough to change their minds and when the ship is freed, Walton regretfully decides to return south. Victor, even though he is in a very weak condition, states that he will go on by himself. He is adamant that the Creature must die. Victor dies shortly thereafter, telling Walton, in his last words, to seek "happiness in tranquility and avoid ambition." Walton discovers the Creature on his ship, mourning over Victor's body. The Creature tells Walton that Victor's death has not brought him peace; rather, his crimes have made him even more miserable than Victor ever was. The Creature vows to kill himself so that no one else will ever know of his existence and Walton watches as the Creature drifts away on an ice raft, never to be seen again. Author's background Mary Shelley by Richard Rothwell (1840–41) Mary Shelley's mother, Mary Wollstonecraft, died from infection eleven days after giving birth to her. Shelley grew close to her father, William Godwin, having never known her mother. Godwin hired a nurse, who briefly cared for her and her half sister, before marrying second wife Mary Jane Clairmont, who did not like the close bond between Shelley and her father. The resulting friction caused Godwin to favour his other children. Shelley's father was a famous author of the time, and her education was of great importance to him, although it was not formal. Shelley grew up surrounded by her father's friends, writers, and persons of political importance, who often gathered at the family home. This inspired her authorship at an early age. Mary, at the age of sixteen, met Percy Bysshe Shelley (who later became her husband) while he was visiting her father. Godwin did not approve of the relationship between his daughter and an older, married man, so they fled to France along with her stepsister, Claire Clairmont. It was during their trip to France that Percy probably had an affair with Mary's stepsister, Claire.[11] On 22 February 1815, Shelley gave birth prematurely to her first child, Clara, who died two weeks later. Over eight years, she endured a similar pattern of pregnancy and loss, one haemorrhage occurring until Percy placed her upon ice to cease the bleeding.[12] In the summer of 1816, Mary, Percy, and Claire took a trip to visit Claire's lover, Lord Byron, in Geneva. During the visit, Byron suggested that he, Mary, Percy, and Byron's physician, John Polidori, have a competition to write the best ghost story to pass time stuck indoors.[13] Historians suggest that an affair occurred too, even that the father of one of Shelley's children may have been Byron.[12] Mary was just eighteen years old when she won the contest with her creation of Frankenstein.[14][15] Literary influences Shelley's work was heavily influenced by that of her parents. Her father was famous for Enquiry Concerning Political Justice and her mother famous for A Vindication of the Rights of Woman. Her father's novels also influenced her writing of Frankenstein. These novels included Things as They Are; or, The Adventures of Caleb Williams, St. Leon, and Fleetwood. All of these books were set in Switzerland, similar to the setting in Frankenstein. Some major themes of social affections and the renewal of life that appear in Shelley's novel stem from these works she had in her possession. Other literary influences that appear in Frankenstein are Pygmalion et Galatée by Mme de Genlis, and Ovid, with the use of individuals identifying the problems with society.[16] Ovid also inspires the use of Prometheus in Shelley's title.[17] The influence of John Milton's Paradise Lost and Samuel Taylor Coleridge's The Rime of the Ancient Mariner are clearly evident in the novel. In The Frankenstein of the French Revolution, author Julia Douthwaite posits that Shelley probably acquired some ideas for Frankenstein's character from Humphry Davy's book Elements of Chemical Philosophy, in which he had written that "science has ... bestowed upon man powers which may be called creative; which have enabled him to change and modify the beings around him ...". References to the French Revolution run through the novel; a possible source may lie in François-Félix Nogaret [fr]'s Le Miroir des événemens actuels, ou la Belle au plus offrant (1790), a political parable about scientific progress featuring an inventor named Frankésteïn, who creates a life-sized automaton.[18] Both Frankenstein and the monster quote passages from Percy Shelley's 1816 poem, "Mutability", and its theme of the role of the subconscious is discussed in prose. Percy Shelley's name never appeared as the author of the poem, although the novel credits other quoted poets by name. Samuel Taylor Coleridge's poem "The Rime of the Ancient Mariner" (1798) is associated with the theme of guilt and William Wordsworth's "Tintern Abbey" (1798) with that of innocence. Many writers and historians have attempted to associate several then-popular natural philosophers (now called physical scientists) with Shelley's work because of several notable similarities. Two of the most noted natural philosophers among Shelley's contemporaries were Giovanni Aldini, who made many public attempts at human reanimation through bio-electric Galvanism in London,[19] and Johann Konrad Dippel, who was supposed to have developed chemical means to extend the life span of humans. While Shelley was aware of both of these men and their activities, she makes no mention of or reference to them or their experiments in any of her published or released notes. Ideas about life and death discussed by Percy and Byron were of great interest to scientists of that time. They discussed ideas from Erasmus Darwin and the experiments of Luigi Galvani as well as James Lind.[20] Mary joined these conversations and the ideas of Darwin, Galvani and perhaps Lind were present in her novel. Shelley's personal experiences also influenced the themes within Frankenstein. The themes of loss, guilt, and the consequences of defying nature present in the novel all developed from Mary Shelley's own life. The loss of her mother, the relationship with her father, and the death of her first child are thought to have inspired the monster and his separation from parental guidance. In a 1965 issue of The Journal of Religion and Health a psychologist proposed that the theme of guilt stemmed from her not feeling good enough for Percy because of the loss of their child.Composition Draft of Frankenstein ("It was on a dreary night of November that I beheld my man completed ...") During the rainy summer of 1816, the "Year Without a Summer", the world was locked in a long, cold volcanic winter caused by the eruption of Mount Tambora in 1815.[21][22] Mary Shelley, aged 18, and her lover (and future husband), Percy Bysshe Shelley, visited Lord Byron at the Villa Diodati by Lake Geneva, in Switzerland's Alps. The weather was too cold and dreary that summer to enjoy the outdoor holiday activities they had planned, so the group retired indoors until dawn. Sitting around a log fire at Byron's villa, the company amused themselves by reading German ghost stories translated into French from the book Fantasmagoriana.[23] Byron proposed that they "each write a ghost story."[24] Unable to think of a story, Mary Shelley became anxious. She recalled being asked "Have you thought of a story?" each morning, and every time being "forced to reply with a mortifying negative."[25] During one evening in the middle of summer, the discussions turned to the nature of the principle of life. "Perhaps a corpse would be re-animated," Mary noted, "galvanism had given token of such things".[26] It was after midnight before they retired and, unable to sleep, she became possessed by her imagination as she beheld the "grim terrors" of her "waking dream".[6] I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world.[27] In September 2011, astronomer Donald Olson, after a visit to the Lake Geneva villa the previous year and inspecting data about the motion of the moon and stars, concluded that her "waking dream" took place between 2 a.m. and 3 a.m. on 16 June 1816, several days after the initial idea by Lord Byron that they each write a ghost story.[28] Mary Shelley began writing what she assumed would be a short story, but with Percy Shelley's encouragement, she expanded the tale into a fully-fledged novel.[29] She later described that summer in Switzerland as the moment "when I first stepped out from childhood into life."[30] Shelley wrote the first four chapters in the weeks following the suicide of her half-sister Fanny.[31] This was one of many personal tragedies that impacted Shelley's work. Shelley's first child died in infancy, and when she began composing Frankenstein in 1816, she was probably nursing her second child, who was also dead by the time of Frankenstein's publication.[32] Shelley wrote much of the book while residing in a lodging house in the centre of Bath in 1816.[33] Byron managed to write just a fragment based on the vampire legends he heard while travelling the Balkans, and from this John Polidori created The Vampyre (1819), the progenitor of the romantic vampire literary genre. Thus two seminal horror tales originated from the conclave. The group talked about Enlightenment and Counter-Enlightenment ideas as well. Mary Shelley believed the Enlightenment idea that society could progress and grow if political leaders used their powers responsibly; however, she also believed the Romantic ideal that misused power could destroy society.[34] Shelley's manuscripts for the first three-volume edition in 1818 (written 1816–1817), as well as the fair copy for her publisher, are now housed in the Bodleian Library in Oxford. The Bodleian acquired the papers in 2004, and they belong now to the Abinger Collection.[35][36] In 2008, the Bodleian published a new edition of Frankenstein, edited by Charles E. Robinson, that contains comparisons of Mary Shelley's original text with Percy Shelley's additions and interventions alongside.[37] Frankenstein and the Monster The Creature Main article: Frankenstein's monster An English editorial cartoonist conceives the Irish Fenian movement as akin to Frankenstein's creature, in the wake of the Phoenix Park murders in an 1882 issue of Punch.[38] Although the Creature was described in later works as a composite of whole body parts grafted together from cadavers and reanimated by the use of electricity, this description is not consistent with Shelley's work; both the use of electricity and the cobbled-together image of Frankenstein's monster were more the result of James Whale's popular 1931 film adaptation of the story and other early motion-picture works based on the creature. In Shelley's original work, Victor Frankenstein discovers a previously unknown but elemental principle of life, and that insight allows him to develop a method to imbue vitality into inanimate matter, though the exact nature of the process is left ambiguous. After a great deal of hesitation in exercising this power, Frankenstein spends two years painstakingly constructing the Creature's body (one anatomical feature at a time, from raw materials supplied by "the dissecting room and the slaughter-house"), which he then brings to life using his unspecified process. Part of Frankenstein's rejection of his creation is the fact that he does not give him a name. Instead, Frankenstein's creation is referred to by words such as "wretch", "monster", "creature", "demon", "devil", "fiend", and "it". When Frankenstein converses with the creature, he addresses him as "vile insect", "abhorred monster", "fiend", "wretched devil", and "abhorred devil". In the novel, the creature is compared to Adam,[39] the first man in the Garden of Eden. The monster also compares himself with the "fallen" angel. Speaking to Frankenstein, the monster says "I ought to be thy Adam, but I am rather the fallen angel". That angel would be Lucifer (meaning "light-bringer") in Milton's Paradise Lost, which the monster has read. Adam is also referred to in the epigraph of the 1818 edition:[40] Did I request thee, Maker, from my clay To mould Me man? Did I solicit thee From darkness to promote me?[41] Some have posited the creature as a composite of Percy Shelley and Thomas Paine. If the creature's hatred for Victor and his desire to raise a child mirror Percy's filial rebelliousness and his longing to adopt children, his desire to do good and his persecution can be said to echo Paine's utopian visions and fate in England.[42] The Creature has often been mistakenly called Frankenstein. In 1908, one author said "It is strange to note how well-nigh universally the term "Frankenstein" is misused, even by intelligent people, as describing some hideous monster."[43] Edith Wharton's The Reef (1916) describes an unruly child as an "infant Frankenstein."[44] David Lindsay's "The Bridal Ornament", published in The Rover, 12 June 1844, mentioned "the maker of poor Frankenstein". After the release of Whale's cinematic Frankenstein, the public at large began speaking of the Creature itself as "Frankenstein". This misnomer continued with the successful sequel Bride of Frankenstein (1935), as well as in film titles such as Abbott and Costello Meet Frankenstein. Illustration by Theodor von Holst from the frontispiece of the 1831 edition[45] Origin of Victor Frankenstein's name Mary Shelley maintained that she derived the name Frankenstein from a dream-vision. This claim has since been disputed and debated by scholars that have suggested alternative sources for Shelley's inspiration.[46] The German name Frankenstein means "stone of the Franks," and is associated with various places in Germany, including Frankenstein Castle (Burg Frankenstein) in Darmstadt, Hesse, and Frankenstein Castle in Frankenstein, a town in the Palatinate. There is also a castle called Frankenstein in Bad Salzungen, Thuringia, and a municipality called Frankenstein in Saxony. The town of Frankenstein in Silesia (now Ząbkowice, Poland) was the site of a scandal involving gravediggers in 1606, and this has been suggested as an inspiration to the author.[47] Finally, the name is borne by the aristocratic House of Franckenstein from Franconia. Radu Florescu argued that Mary and Percy Shelley visited Frankenstein Castle near Darmstadt in 1814, where alchemist Johann Konrad Dippel had experimented with human bodies, and reasoned that Mary suppressed mention of her visit in order to maintain her public claim of originality.[48] A literary essay by A. J. Day supports Florescu's position that Mary Shelley knew of and visited Frankenstein Castle before writing her debut novel.[49] Day includes details of an alleged description of the Frankenstein castle in Mary Shelley's "lost journals." However, according to Jörg Heléne, Day's and Florescu's claims cannot be verified.[50] A possible interpretation of the name "Victor" is derived from Paradise Lost by John Milton, a great influence on Shelley (a quotation from Paradise Lost is on the opening page of Frankenstein and Shelley writes that the monster reads it in the novel).[51][52] Milton frequently refers to God as "the victor" in Paradise Lost, and Victor's creation of life in the novel is compared to God's creation of life in Paradise Lost. In addition, Shelley's portrayal of the monster owes much to the character of Satan in Paradise Lost; and, the monster says in the story, after reading the epic poem, that he empathizes with Satan's role. Parallels between Victor Frankenstein and Mary's husband, Percy Shelley, have also been drawn. Percy Shelley was the first-born son of a wealthy country squire with strong political connections and a descendant of Sir Bysshe Shelley, 1st Baronet of Castle Goring, and Richard Fitzalan, 10th Earl of Arundel.[53] Similarly, Victor's family is one of the most distinguished of that republic and his ancestors were counsellors and syndics. Percy's sister and Victor's adopted sister were both named Elizabeth. There are many other similarities, from Percy's usage of "Victor" as a pen name for Original Poetry by Victor and Cazire, a collection of poetry he wrote with Elizabeth,[54] to Percy's days at Eton, where he had "experimented with electricity and magnetism as well as with gunpowder and numerous chemical reactions," and the way in which Percy's rooms at Oxford were filled with scientific equipment.[55][56] Modern Prometheus The Modern Prometheus is the novel's subtitle (though modern editions now drop it, only mentioning it in introduction).[57] Prometheus, in versions of Greek mythology, was the Titan who created humans in the image of the gods so that they could have a spirit breathed into them at the behest of Zeus.[58] Prometheus then taught humans to hunt, but after he tricked Zeus into accepting "poor-quality offerings" from humans, Zeus kept fire from humankind. Prometheus took back the fire from Zeus to give to humanity. When Zeus discovered this, he sentenced Prometheus to be eternally punished by fixing him to a rock of Caucasus, where each day an eagle pecked out his liver, only for the liver to regrow the next day because of his immortality as a god. As a Pythagorean, or believer in An Essay on Abstinence from Animal Food, as a Moral Duty by Joseph Ritson,[59] Mary Shelley saw Prometheus not as a hero but rather as something of a devil, and blamed him for bringing fire to humanity and thereby seducing the human race to the vice of eating meat.[60] Percy wrote several essays on what became known as vegetarianism including A Vindication of Natural Diet.[59] In 1910, Edison Studios released the first motion-picture adaptation of Shelley's story. Byron was particularly attached to the play Prometheus Bound by Aeschylus, and Percy Shelley soon wrote his own Prometheus Unbound (1820). The term "Modern Prometheus" was derived from Immanuel Kant who described Benjamin Franklin as the "Prometheus of modern times" in reference to his experiments with electricity.[61] Publication Shelley completed her writing in April/May 1817, and Frankenstein; or, The Modern Prometheus was published on 1 January 1818[62] by the small London publishing house Lackington, Hughes, Harding, Mavor, & Jones.[63][64] It was issued anonymously, with a preface written for Mary by Percy Bysshe Shelley and with a dedication to philosopher William Godwin, her father. It was published in an edition of just 500 copies in three volumes, the standard "triple-decker" format for 19th-century first editions. A variety of different editions A French translation (Frankenstein: ou le Prométhée Moderne, translated by Jules Saladin) appeared as early as 1821. The second English edition of Frankenstein was published on 11 August 1823 in two volumes (by G. and W. B. Whittaker) following the success of the stage play Presumption; or, the Fate of Frankenstein by Richard Brinsley Peake.[65] This edition credited Mary Shelley as the book's author on its title page. On 31 October 1831, the first "popular" edition in one volume appeared, published by Henry Colburn & Richard Bentley.[66] This edition was heavily revised by Mary Shelley, partially to make the story less radical. It included a lengthy new preface by the author, presenting a somewhat embellished version of the genesis of the story. This edition is the one most widely published and read now, although a few editions follow the 1818 text.[67] Some scholars prefer the original version, arguing that it preserves the spirit of Mary Shelley's vision (see Anne K. Mellor's "Choosing a Text of Frankenstein to Teach" in the W. W. Norton Critical edition). Reception Frankenstein has been both well received and disregarded since its anonymous publication in 1818. Critical reviews of that time demonstrate these two views, along with confused speculation as to the identity of the author. Walter Scott, writing in Blackwood's Edinburgh Magazine, praises the novel as an "extraordinary tale, in which the author seems to us to disclose uncommon powers of poetic imagination," although he was less convinced about the way in which the monster gains knowledge about the world and language.[68] La Belle Assemblée described the novel as "very bold fiction"[69] and the Edinburgh Magazine and Literary Miscellany hoped to see "more productions ... from this author".[70] On the other hand, John Wilson Croker, writing anonymously in the Quarterly Review, although conceding that "the author has powers, both of conception and language," described the book as "a tissue of horrible and disgusting absurdity."[71] In two other reviews where the author is known as the daughter of William Godwin, the criticism of the novel makes reference to the feminine nature of Mary Shelley. The British Critic attacks the novel's flaws as the fault of the author: "The writer of it is, we understand, a female; this is an aggravation of that which is the prevailing fault of the novel; but if our authoress can forget the gentleness of her sex, it is no reason why we should; and we shall therefore dismiss the novel without further comment".[72] The Literary Panorama and National Register attacks the novel as a "feeble imitation of Mr. Godwin's novels" produced by the "daughter of a celebrated living novelist."[73] Despite these reviews, Frankenstein achieved an almost immediate popular success. It became widely known, especially through melodramatic theatrical adaptations—Mary Shelley saw a production of Presumption; or The Fate of Frankenstein, a play by Richard Brinsley Peake, in 1823. Critical reception of Frankenstein has been largely positive since the mid-20th century.[74] Major critics such as M. A. Goldberg and Harold Bloom have praised the "aesthetic and moral" relevance of the novel,[75] although there have also been critics, such as Germaine Greer, who criticized the novel for technical and narrative defects (who claimed it has three narrators who speak in the same way).[76] In more recent years the novel has become a popular subject for psychoanalytic and feminist criticism: Lawrence Lipking states: "[E]ven the Lacanian subgroup of psychoanalytic criticism, for instance, has produced at least half a dozen discrete readings of the novel".[77] Frankenstein has frequently been recommended on Five Books, with literary scholars, psychologists, novelists, and historians citing it as an influential text.[78] Today, the novel is generally considered to be a landmark work as one of the greatest Romantic and Gothic novels, as well as one of the first science fiction novels.[79] Film director Guillermo del Toro describes Frankenstein as "the quintessential teenage book", noting that the feelings that "You don't belong. You were brought to this world by people that don't care for you and you are thrown into a world of pain and suffering, and tears and hunger" are an important part of the story. He adds that "it's an amazing book written by a teenage girl. It's mind-blowing."[80] Professor of philosophy Patricia MacCormack says that the Creature addresses the most fundamental human questions: "It's the idea of asking your maker what your purpose is. Why are we here, what can we do?"[80] On 5 November 2019, BBC News listed Frankenstein on its list of the 100 most influential novels.[81] In 2021, it was one of six classic science fiction novels by British authors selected by Royal Mail to feature on a series of UK postage stamps.[82] Films, plays, and television Main articles: Frankenstein in popular culture and List of films featuring Frankenstein's monster The 1931 film,[83] with Boris Karloff playing the lead, is considered the most prominent portrayal of Frankenstein." (wikipedia.org) "Frankenstein's monster or Frankenstein's creature, often erroneously referred to as simply "Frankenstein",[1] is a fictional character who first appeared in Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus as the main antagonist. Shelley's title thus compares the monster's creator, Victor Frankenstein, to the mythological character Prometheus, who fashioned humans out of clay and gave them fire. In Shelley's Gothic story, Victor Frankenstein builds the creature in his laboratory through an ambiguous method based on a scientific principle he discovered. Shelley describes the monster as 8 feet (240 cm) tall and emotional. The monster attempts to fit into human society but is shunned, which leads him to seek revenge against Frankenstein. According to the scholar Joseph Carroll, the monster occupies "a border territory between the characteristics that typically define protagonists and antagonists".[2] Frankenstein's monster became iconic in popular culture, and has been featured in various forms of media, including films, television series, merchandise and video games. The most popularly recognized versions are the film portrayals by Boris Karloff in the 1931 film Frankenstein, the 1935 sequel Bride of Frankenstein, and the 1939 sequel Son of Frankenstein. Names The actor T. P. Cooke as the monster in an 1823 stage production of Shelley's novel Mary Shelley's original novel never gives the monster a name, although when speaking to his creator, Victor Frankenstein, the monster does say "I ought to be thy Adam" (in reference to the first man created in the Bible). Frankenstein refers to his creation as "creature", "fiend", "spectre", "the dæmon", "wretch", "devil", "thing", "being", and "ogre".[3] Frankenstein's creation referred to himself as a "monster" at least once, as did the residents of a hamlet who saw the creature towards the end of the novel. As in Shelley's story, the creature's namelessness became a central part of the stage adaptations in London and Paris during the decades after the novel's first appearance. In 1823, Shelley herself attended a performance of Richard Brinsley Peake's Presumption, the first successful stage adaptation of her novel. "The play bill amused me extremely, for in the list of dramatis personae came _________, by Mr T. Cooke," she wrote to her friend Leigh Hunt. "This nameless mode of naming the unnameable is rather good."[4] Within a decade of publication, the name of the creator—Frankenstein—was used to refer to the creature, but it did not become firmly established until much later. The story was adapted for the stage in 1927 by Peggy Webling,[5] and Webling's Victor Frankenstein does give the creature his name. However, the creature has no name in the Universal film series starring Boris Karloff during the 1930s, which was largely based upon Webling's play.[6] The 1931 Universal film treated the creature's identity in a similar way as Shelley's novel: in the opening credits, the character is referred to merely as "The Monster" (the actor's name is replaced by a question mark, but Karloff is listed in the closing credits).[7] However, in the sequel Bride of Frankenstein (1935), the frame narration by a character representing Shelley's friend Lord Byron does refer to the monster as Frankenstein, although this scene takes place not quite in-universe. Nevertheless, the creature soon enough became best known in the popular imagination as "Frankenstein". This usage is sometimes considered erroneous, but some usage commentators regard the monster sense of "Frankenstein" as well-established and not an error.[8][9] Modern practice varies somewhat. For example, in Dean Koontz's Frankenstein, first published in 2004, the creature is named "Deucalion", after the character from Greek mythology, who is the son of the Titan Prometheus, a reference to the original novel's title. Another example is the second episode of Showtime's Penny Dreadful, which first aired in 2014; Victor Frankenstein briefly considers naming his creation "Adam", before deciding instead to let the monster "pick his own name". Thumbing through a book of the works of William Shakespeare, the monster chooses "Proteus" from The Two Gentlemen of Verona. It is later revealed that Proteus is actually the second monster Frankenstein has created, with the first, abandoned creation having been named "Caliban", from The Tempest, by the theatre actor who took him in and later, after leaving the theatre, named himself after the English poet John Clare.[10] Another example is an attempt by Randall Munroe of webcomic xkcd to make "Frankenstein" the canonical name of the monster, by publishing a short derivative version which directly states that it is.[11] In The Strange Case of the Alchemist's Daughter, the 2017 novel by Theodora Goss, the creature is named Adam.[12] Shelley's plot Charles Stanton Ogle in the 1910 film version Close-up of Charles Ogle as the monster in Thomas Edison's Frankenstein (1910) Main article: Frankenstein Victor Frankenstein builds the creature over a two-year period in the attic of his boarding house in Ingolstadt after discovering a scientific principle which allows him to create life from non-living matter. Frankenstein is disgusted by his creation, however, and flees from it in horror. Frightened, and unaware of his own identity, the monster wanders through the wilderness. He finds solace beside a remote cottage inhabited by an older, blind man and his two children. Eavesdropping, the creature familiarizes himself with their lives and learns to speak, whereby he becomes an eloquent, educated, and well-mannered individual. During this time, he also finds Frankenstein's journal in the pocket of the jacket he found in the laboratory and learns how he was created. The creature eventually introduces himself to the family's blind father, who treats him with kindness. When the rest of the family returns, however, they are frightened of him and drive him away. Enraged, the creature feels that humankind is his enemy and begins to hate his creator for abandoning him. However, although he despises Frankenstein, he sets out to find him, believing that he is the only person who will help him. On his journey, the creature rescues a young girl from a river but is shot in the shoulder by the child's father, believing the creature intended to harm his child. Enraged by this final act of cruelty, the creature swears revenge on humankind for the suffering they have caused him. He seeks revenge against his creator in particular for leaving him alone in a world where he is hated. Using the information in Frankenstein's notes, the creature resolves to find him. The monster kills Victor's younger brother William upon learning of the boy's relation to his creator and frames Justine Moritz, a young woman who lives with the Frankensteins, as the culprit (causing her execution afterwards). When Frankenstein retreats to the Alps, the monster approaches him at the summit, recounts his experiences, and asks his creator to build him a female mate. He promises, in return, to disappear with his mate and never trouble humankind again, but threatens to destroy everything Frankenstein holds dear should he fail or refuse. Frankenstein agrees, and eventually constructs a female creature on a remote island in Orkney, but aghast at the possibility of creating a race of monsters, destroys the female creature before it is complete. Horrified and enraged, the creature immediately appears, and gives Frankenstein a final threat: "I will be with you on your wedding night." After leaving his creator, the creature goes on to kill Victor's best friend, Henry Clerval, and later kills Frankenstein's bride, Elizabeth Lavenza, on their wedding night, whereupon Frankenstein's father dies of grief. With nothing left to live for but revenge, Frankenstein dedicates himself to destroying his creation, and the creature goads him into pursuing him north, through Scandinavia and into Russia, staying ahead of him the entire way. As they reach the Arctic Circle and travel over the pack ice of the Arctic Ocean, Frankenstein, suffering from severe exhaustion and hypothermia, comes within a mile of the creature, but is separated from him when the ice he is traveling over splits. A ship exploring the region encounters the dying Frankenstein, who relates his story to the ship's captain, Robert Walton. Later, the monster boards the ship, but upon finding Frankenstein dead, is overcome by grief and pledges to incinerate himself at "the Northernmost extremity of the globe". He then departs, never to be seen again. Appearance Frankenstein's monster in an editorial cartoon, 1896, an allegory on the Silverite movement displacing other progressive factions in late 19th century U.S. Shelley described Frankenstein's monster as an 8-foot-tall (2.4 m) creature of hideous contrasts: His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips. A picture of the creature appeared in the 1831 edition. Early stage portrayals dressed him in a toga, shaded, along with the monster's skin, a pale blue. Throughout the 19th century, the monster's image remained variable according to the artist. Portrayals in film The best-known image of Frankenstein's monster in popular culture derives from Boris Karloff's portrayal in the 1931 movie Frankenstein, in which he wore makeup applied and designed by Jack P. Pierce, who based the monster's face and iconic flat head shape on a drawing Pierce's daughter (whom Pierce feared to be psychic) had drawn from a dream.[13] Universal Studios, which released the film, was quick to secure ownership of the copyright for the makeup format. Karloff played the monster in two more Universal films, Bride of Frankenstein and Son of Frankenstein; Lon Chaney Jr. took over the part from Karloff in The Ghost of Frankenstein; Bela Lugosi portrayed the role in Frankenstein Meets the Wolf Man; and Glenn Strange played the monster in the last three Universal Studios films to feature the character – House of Frankenstein, House of Dracula, and Abbott and Costello Meet Frankenstein. However, the makeup worn by subsequent actors replicated the iconic look first worn by Karloff. The image of Karloff's face is currently owned by his daughter's company, Karloff Enterprises, secured for her in a lawsuit for which she was represented by attorney Bela G. Lugosi (Bela Lugosi's son), after which Universal replaced Karloff's features with those of Glenn Strange in most of their marketing. In 1969, the New York Times mistakenly ran a photograph of Strange for Karloff's obituary. Since Karloff's portrayal, the creature almost always appears as a towering, undead-like figure, often with a flat-topped angular head and bolts on his neck to serve as electrical connectors or grotesque electrodes. He wears a dark, usually tattered, suit having shortened coat sleeves and thick, heavy boots, causing him to walk with an awkward, stiff-legged gait (as opposed to the novel, in which he is described as much more flexible than a human). The tone of his skin varies (although shades of green or gray are common), and his body appears stitched together at certain parts (such as around the neck and joints). This image has influenced the creation of other fictional characters, such as the Hulk.[14] Frankenstein's monster's bust, based on Boris Karloff, in the National Museum of Cinema of Turin, Italy Colin Clive and Karloff in Frankenstein (1931) Boris Karloff in Bride of Frankenstein (1935) in a variation of the classic 1931 film version with an assist from make-up artist Jack Pierce. Karloff had gained weight since the original iteration and much of the monster's hair has been burned off to indicate having been caught in a fire. Some of the hair was gradually replaced during the course of the film to simulate it beginning to grow back. Colored publicity shots from sequels Bride of Frankenstein (1935) and Son of Frankenstein (1939) with Karloff Evelyn Ankers, Lon Chaney Jr. as the monster and Bela Lugosi as Ygor in The Ghost of Frankenstein (1942) Re-release lobby card for Frankenstein Meets the Wolf Man (1943) with Bela Lugosi and Lon Chaney Jr. Glenn Strange as the monster in House of Dracula (1945) Onslow Stevens and Glenn Strange in House of Dracula (1945) Christopher Lee as the creature in Hammer Films' The Curse of Frankenstein (1957) In the 1957 film The Curse of Frankenstein, Christopher Lee was cast as the creature. The producers Hammer Film Productions refrained from duplicating aspects of Universal's 1931 film, and so Phil Leakey designed a new look for the creature bearing no resemblance to the Boris Karloff design created by Jack Pierce.[15] For his performance as the creature Lee played him as a loose-limbed and childlike, fearful and lonely, with a suggestion of being in pain. Author Paul Leggett describes the creature as being like an abused child; afraid but also violently angry.[16] Christopher Lee, was annoyed on getting the script and discovering that the monster had no dialogue, for this creature was totally mute.[17] According to Marcus K. Harmes in contrasting Lee's creature with the one played by Karloff, "Lee's actions as the monster seem more directly evil, to judge from the expression on his face when he bears down on the helpless old blind man but these are explained in the film as psychopathic impulses caused by brain damage, not the cunning of the literary monster. Lee also evokes considerable pathos in his performance."[17] In this film the aggressive and childish demeanour of the monster are in contrast with that of the murdered Professor Bernstein, once the "finest brain in Europe", from whom the creature's now damaged brain was taken.[17] The sequels to The Curse of Frankenstein would feature the Baron creating various different creatures, none of which would be played by Christopher Lee. In the 1965 Toho film Frankenstein Conquers the World, the heart of Frankenstein's monster was transported from Germany to Hiroshima as World War II neared its end, only to be irradiated during the atomic bombing of the city, granting it miraculous regenerative capabilities. Over the ensuing 20 years, it grows into a complete human child, who then rapidly matures into a giant, 20-metre-tall man. After escaping a laboratory in the city, he is blamed for the crimes of the burrowing kaiju Baragon, and the two monsters face off in a showdown that ends with Frankenstein's monster victorious, though he falls into the depths of the Earth after the ground collapses beneath his feet. In the 1973 TV miniseries Frankenstein: The True Story, in which the creature is played by Michael Sarrazin, he appears as a strikingly handsome man who later degenerates into a grotesque monster due to a flaw in the creation process. In the 1994 film Mary Shelley's Frankenstein, the creature is played by Robert De Niro and has an appearance closer to that described in the original novel, though this version of the creature possesses balding grey hair and a body covered in bloody stitches. He is, as in the novel, motivated by pain and loneliness. In this version, Frankenstein gives the monster the brain of his mentor, Doctor Waldman, while his body is made from a man who killed Waldman while resisting a vaccination. The monster retains Waldman's "trace memories" that apparently help him quickly learn to speak and read. In the 2004 film Van Helsing, the monster is shown in a modernized version of the Karloff design. He is 8 to 9 feet (240–270 cm) tall, has a square bald head, gruesome scars, and pale green skin. The electrical origin of the creature is emphasized with one electrified dome in the back of his head and another over his heart, and he also has hydraulic pistons in his legs, with the design being similar to that of a steam-punk cyborg. Although not as eloquent as in the novel, this version of the creature is intelligent and relatively nonviolent. In 2004, a TV miniseries adaptation of Frankenstein was made by Hallmark. Luke Goss plays the creature. This adaptation more closely resembles the monster as described in the novel: intelligent and articulate, with flowing, dark hair and watery eyes. The 2005 film Frankenstein Reborn portrays the creature as a paraplegic man who tries to regain the ability to walk by having a nanobots surging through his body but has side effects. Instead, the surgeon kills him and resurrects his corpse as a reanimated zombie-like creature. This version of the creature has stitches on his face where he was shot, strains of brown hair, black pants, a dark hoodie, and a black jacket with a brown fur collar. The 2014 TV series Penny Dreadful also rejects the Karloff design in favour of Shelley's description. This version of the creature has the flowing dark hair described by Shelley, although he departs from her description by having pale grey skin and obvious scars along the right side of his face. Additionally, he is of average height, being even shorter than other characters in the series. In this series, the monster names himself "Caliban", after the character in William Shakespeare's The Tempest. In the series, Victor Frankenstein makes a second and third creature, each more indistinguishable from normal human beings. Personality As depicted by Shelley, the creature is a sensitive, emotional person whose only aim is to share his life with another sentient being like himself. The novel portrayed him as versed in Paradise Lost, Plutarch's Lives, and The Sorrows of Young Werther, books he finds after having learnt language. From the beginning, the creature is rejected by everyone he meets. He realizes from the moment of his "birth" that even his own creator cannot stand the sight of him; this is obvious when Frankenstein says "…one hand was stretched out, seemingly to detain me, but I escaped…".[18]: Ch.5 Upon seeing his own reflection, he realizes that he too is repulsed by his appearance. His greatest desire is to find love and acceptance; but when that desire is denied, he swears revenge on his creator. The creature is a vegetarian. While speaking to Frankenstein, he tells him, "My food is not that of man; I do not destroy the lamb and the kid to glut my appetite; acorns and berries afford me sufficient nourishment...The picture I present to you is peaceful and human."[19] At the time the novel was written, many writers, including Percy Shelley in A Vindication of Natural Diet,[20] argued that practicing vegetarianism was the morally right thing to do.[21] Contrary to many film versions, the creature in the novel is very articulate and eloquent in his speech. Almost immediately after his creation, he dresses himself; and within 11 months, he can speak and read German and French. By the end of the novel, the creature is able to speak English fluently as well. The Van Helsing and Penny Dreadful interpretations of the character have similar personalities to the literary original, although the latter version is the only one to retain the character's violent reactions to rejection. In the 1931 film adaptation, the creature is depicted as mute and bestial; it is implied that this is because he is accidentally implanted with a criminal's "abnormal" brain. In the subsequent sequel, Bride of Frankenstein, the creature learns to speak, albeit in short, stunted sentences. However, his intelligence is implied to be fairly developed, since what little dialogue he speaks suggests he has a world-weary attitude to life, and a deep understanding of his unnatural state. When rejected by his bride, he briefly goes through a suicidal state and attempts suicide, blowing up the laboratory he is in. In the second sequel, Son of Frankenstein, the creature is again rendered inarticulate. Following a brain transplant in the third sequel, The Ghost of Frankenstein, the creature speaks with the voice and personality of the brain donor. This was continued after a fashion in the scripting for the fourth sequel, Frankenstein Meets the Wolf Man, but the dialogue was excised before release. The creature was effectively mute in later sequels, although he refers to Count Dracula as his "master" in Abbott and Costello Meet Frankenstein. The creature is often portrayed as being afraid of fire, although he is not afraid of it in the novel, even using fire to destroy himself. The monster as a metaphor Scholars sometimes look for deeper meaning in Shelley's story, and have drawn an analogy between the monster and a motherless child; Shelley's own mother died while giving birth to her.[22] The monster has also been analogized to an oppressed class; Shelley wrote that the monster recognized "the division of property, of immense wealth and squalid poverty".[22] Others see in the monster the dangers of uncontrolled scientific progress,[23] especially as at the time of publishing; Galvanism had convinced many scientists that raising the dead through use of electrical currents was a scientific possibility. Another proposal is that Victor Frankenstein was based on a real scientist who had a similar name, and who had been called a modern Prometheus – Benjamin Franklin. Accordingly, the monster would represent the new nation that Franklin helped to create out of remnants left by England.[24] Victor Frankenstein's father "made also a kite, with a wire and string, which drew down that fluid from the clouds," wrote Shelley, similar to Franklin's famous kite experiment.[24] Racial interpretations 1930s Universal's art director Karoly Grosz (illustrator) designed this offbeat 1935 advertisement In discussing the physical description of the monster, there has been some speculation about the potential his design is rooted in common perceptions of race during the 18th century. Three scholars have noted that Shelley's description of the monster seems to be racially coded; one argues that, "Shelley's portrayal of her monster drew upon contemporary attitudes towards non-whites, in particular on fears and hopes of the abolition of slavery in the West Indies."[25] Of course, there is no evidence to suggest that the monster's depiction is meant to mimic any race, and such interpretations are based in personal conjectural interpretations of Shelley's text rather than remarks from herself or any known intentions of the author. Karloff in 1935 teaser ad In her article "Frankenstein, Racial Science, and the Yellow Peril,"[26] Anne Mellor claims that the monster's features share a lot in common with the Mongoloid race. This term, now out of fashion and carrying some negative connotations, is used to describe the "yellow" races of Asia as distinct from the Caucasian or white races. To support her claim, Mellor points out that both Mary and Percy Shelley were friends with William Lawrence, an early proponent of racial science and someone who Mary "continued to consult on medical matters and [met with] socially until his death in 1830."[26] While Mellor points out to allusions to Orientalism and the Yellow Peril, John Malchow in his article "Frankenstein's Monster and Images of Race in Nineteenth-Century Britain"[25] explores the possibility of the monster either being intentionally or unintentionally coded as black. Malchow argues that the monster's depiction is based in an 18th-century understanding of "popular racial discourse [which] managed to conflate such descriptions of particular ethnic characteristics into a general image of the "Negro" body in which repulsive features, brute-like strength and size of limbs featured prominently."[25] Malchow makes it clear that it is difficult to tell if this alleged racial allegory was intentional on Shelley's part or if it was inspired by the society she lived in (or if it exists in the text at all outside of his interpretation), and he states that "There is no clear proof that Mary Shelley consciously set out to create a monster which suggested, explicitly, the Jamaican escaped slave or maroon, or that she drew directly from any person knowledge of either planter or abolitionist propaganda."[25] In addition to the previous interpretations, Karen Lynnea Piper argues in her article, "Inuit Diasporas: Frankenstein and the Inuit in England" that the symbolism surrounding Frankenstein's monster could stem from the Inuit of the Arctic. Piper argues that the monster accounts for the "missing presence" of any indigenous people during Waldon's expedition, and that he represents the fear of the savage, lurking on the outskirts of civilization.[27] Portrayals Actor Year Production Thomas Cooke 1823 Presumption; or, the Fate of Frankenstein (stage play) O. Smith 1826 The Man and The Monster; or The Fate of Frankenstein Charles Stanton Ogle 1910 Frankenstein Percy Standing 1915 Life Without Soul Umberto Guarracino 1920 The Monster of Frankenstein Boris Karloff 1931 Frankenstein 1935 Bride of Frankenstein 1939 Son of Frankenstein 1962 Route 66': "Lizard's Leg and Owlet's Wing" (TV series episode) Dale Van Sickel 1941 Hellzapoppin Lon Chaney Jr. 1942 The Ghost of Frankenstein[28] 1952 Tales of Tomorrow: "Frankenstein" (TV series episode) Bela Lugosi 1943 Frankenstein Meets the Wolf Man Glenn Strange 1944 The House of Frankenstein 1945 House of Dracula 1948 Abbott and Costello Meet Frankenstein Gary Conway 1957 I Was a Teenage Frankenstein Christopher Lee The Curse of Frankenstein Gary Conway 1958 How to Make a Monster Michael Gwynn The Revenge of Frankenstein Mike Lane Frankenstein 1970 Harry Wilson Frankenstein's Daughter Don Megowan Tales of Frankenstein (TV pilot) Danny Dayton 1963 Mack and Myer for Hire: "Monstrous Merriment" (TV series episode) Kiwi Kingston 1964 The Evil of Frankenstein Fred Gwynne The Munsters (as "Herman Munster") Koji Furuhata 1965 Frankenstein Conquers the World John Maxim Doctor Who: "The Chase" (TV series episode) Robert Reilly Frankenstein Meets the Space Monster Yû Sekida and Haruo Nakajima 1966 The War of the Gargantuas Allen Swift 1967 Mad Monster Party? 1972 Mad Mad Mad Monsters Susan Denberg 1967 Frankenstein Created Woman Robert Rodan Dark Shadows David Prowse 1967 Casino Royale 1970 The Horror of Frankenstein 1974 Frankenstein and the Monster from Hell Freddie Jones 1969 Frankenstein Must Be Destroyed Manuel Leal Santo y Blue Demon contra los monstruos (as "Franquestain") Howard Morris 1970 Groovie Goolies (as "Frankie") John Bloom and Shelley Weiss 1971 Dracula vs. Frankenstein Xiro Papas 1972 Frankenstein 80 Bo Svenson 1973 The Wide World of Mystery "Frankenstein" (TV series episode) José Villasante The Spirit of the Beehive Michael Sarrazin Frankenstein: The True Story Srdjan Zelenovic 1974 Flesh for Frankenstein Peter Boyle Young Frankenstein Per Oscarsson 1976 Terror of Frankenstein Mike Lane Monster Squad Jack Elam 1979 Struck by Lightning John Schuck The Halloween That Almost Wasn't Peter Cullen 1984 The Transformers David Warner Frankenstein (TV movie) Clancy Brown 1985 The Bride 2020 DuckTales Tom Noonan 1987 The Monster Squad Paul Naschy El Aullido del Diablo Chris Sarandon Frankenstein (TV movie) Phil Hartman 1987–1996 Saturday Night Live[29][30] Zale Kessler 1988 Scooby-Doo and the Ghoul School Jim Cummings Scooby-Doo! and the Reluctant Werewolf Craig Armstrong 1989 The Super Mario Bros. Super Show! Nick Brimble 1990 Frankenstein Unbound Randy Quaid 1992 Frankenstein Robert De Niro 1994 Mary Shelley's Frankenstein Deron McBee 1995 Monster Mash: The Movie Peter Crombie 1997 House of Frankenstein Thomas Wellington The Creeps Frank Welker 1999 Alvin and the Chipmunks Meet Frankenstein Shuler Hensley 2004 Van Helsing Luke Goss Frankenstein Vincent Perez Frankenstein Joel Hebner 2005 Frankenstein Reborn Julian Bleach 2007 Frankenstein Shuler Hensley Young Frankenstein Scott Adsit 2010 Mary Shelley's Frankenhole Benedict Cumberbatch 2011 Frankenstein Jonny Lee Miller Tim Krueger Frankenstein: Day of the Beast David Harewood Frankenstein's Wedding Kevin James 2012 Hotel Transylvania 2015 Hotel Transylvania 2 2018 Hotel Transylvania 3: Summer Vacation David Gest 2012 A Nightmare on Lime Street[31] Mark Hamill Uncle Grandpa Roger Morrissey 2013 The Frankenstein Theory Chad Michael Collins Once Upon a Time Aaron Eckhart 2014 I, Frankenstein Eric Gesecus Army of Frankensteins Rory Kinnear Penny Dreadful Dee Bradley Baker Winx Club (in "A Monstrous Crush") Michael Gladis 2015 The Librarians (in "And the Broken Staff") Spencer Wilding Victor Frankenstein Xavier Samuel Frankenstein Kevin Michael Richardson Rick and Morty Brad Garrett 2016 Apple holiday commercial John DeSantis 2017 Escape from Mr. Lemoncello's Library Ai Nonaka Fate/Apocrypha Grant Moninger Teenage Mutant Ninja Turtles Skylar Astin 2019 Vampirina Will Ferrell Drunk History Brad Abrell[32] 2022 Hotel Transylvania: Transformania" (wikipedia.org) "Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus, and the famous character of Frankenstein's monster, have influenced popular culture for at least a century. The work has inspired numerous films, television programs, video games and derivative works. The character of the Monster remains one of the most recognized icons in horror fiction.[1] Film derivatives See also: List of films featuring Frankenstein's monster Silent era The first film adaptation of Frankenstein in 1910 by Edison Studios The first film adaptation of the tale, Frankenstein, was made by Edison Studios in 1910,[2] written and directed by J. Searle Dawley, with Augustus Phillips as Frankenstein, Mary Fuerte as Elizabeth, and Charles Ogle as the Monster. The brief (16 min.) story has Frankenstein chemically create the Creature in a vat. The Creature has encounters with the scientist until Frankenstein's wedding night, when true love causes the Creature to vanish. For many years, this film was believed lost. A collector announced in 1980 that he had acquired a print in the 1950s and had been unaware of its rarity. The Edison version was followed soon after by another adaptation entitled Life Without Soul (1915), directed by Joseph W. Smiley, starring William A. Cohill as Dr. William Frawley, a modern-day Frankenstein who creates a soulless man, played to much critical praise by Percy Standing, who wore little make-up in the role. The film was shot at various locations around the United States, and reputedly featured much spectacle. In the end, it turns out that a young man has dreamed the events of the film after falling asleep reading Mary Shelley's novel. This film is now considered a lost film. There was also at least one European film version, the Italian The Monster of Frankenstein (Il Mostro di Frankenstein) in 1921. The film's producer, Luciano Albertini, essayed the role of Frankenstein, with the Creature being played by Umberto Guarracino, and Eugenio Testa directing from a screenplay by Giovanni Drivetti. This film is also now considered lost. Universal Pictures See also: Universal Monsters The first sound adaptation of the story, Frankenstein (1931), was produced by Universal Pictures, directed by James Whale, and starred Boris Karloff as the creature. The film has been selected for preservation in the United States National Film Registry. Its sequel, The Bride of Frankenstein (1935) was also directed by Whale with Karloff as the Creature. It was followed by Son of Frankenstein (1939), the last of the three films with Boris Karloff as the Creature. The Ghost of Frankenstein (1942) marked the Universal series' descent into B movie territory; later efforts by the studio combined two or more monsters, culminating in the comedy Abbott and Costello Meet Frankenstein. The later Universal films in which the Monster appears (and the actors who played him) are: The Ghost of Frankenstein (1942 – Lon Chaney Jr.) Frankenstein Meets the Wolf Man (1943 – Béla Lugosi, with Eddie Parker, Gil Perkins, and a possible third stuntman often doubling) The House of Frankenstein (1944 – Glenn Strange) House of Dracula (1945 – Strange) Abbott and Costello Meet Frankenstein (1948 – Strange, with Lon Chaney Jr. taking the role for one scene). Future reboot film For the reboot film, Guillermo del Toro said his Frankenstein would be a faithful "Miltonian tragedy", citing Frank Darabont's "near perfect" script, which evolved into Kenneth Branagh's Frankenstein.[3] Del Toro said of his vision, "What I'm trying to do is take the myth and do something with it, but combining elements of Frankenstein and Bride of Frankenstein without making it just a classical myth of the monster. The best moments in my mind of Frankenstein, of the novel, are yet to be filmed ... The only guy that has ever nailed for me the emptiness, not the tragic, not the Miltonian dimension of the monster, but the emptiness is Christopher Lee in the Hammer films, where he really looks like something obscenely alive. Boris Karloff has the tragedy element nailed down but there are so many versions, including that great screenplay by Frank Darabont that was ultimately not really filmed."[4] He has also cited Bernie Wrightson's illustrations as inspiration, and said the film will not focus on the monster's creation, but be an adventure film featuring the character.[5] Del Toro said he would like Wrightson to design his version of the creature. The film will also focus on the religious aspects of Shelley's tale.[6] In June 2009, del Toro stated that production on Frankenstein was not likely to begin for at least four years.[7] Despite this, he has already cast frequent collaborator Doug Jones in the role of Frankenstein's monster. In an interview with Sci Fi Wire, Jones stated that he learned of the news the same day as everybody else; that "Guillermo did say to the press that he's already cast me as his monster, but we’ve yet to talk about it. But in his mind, if that's what he's decided, then it's done ... It would be a dream come true."[8] The film will be a period piece.[9] It is unclear what stage of development this film is in.[when?] Universal Studios has since begun development of their own cinematic universe featuring their classic monsters. Variety reported that Academy Award-winner Javier Bardem was in negotiations to star as the Frankenstein Monster.[10] Hammer Films Main article: Frankenstein (Hammer film series) In Great Britain, a long-running series by Hammer Films focused on the character of Dr Frankenstein (usually played by Peter Cushing) rather than his monster. Peter Cushing played Dr Frankenstein in all of the films except for The Horror of Frankenstein, in which the character was played by Ralph Bates. Cushing also played a creation in The Revenge of Frankenstein. David Prowse played two different Creatures. The Hammer films are a series in the loosest sense since there is only tenuous continuity between the films after the first two (which are, by contrast, carefully connected). Starting with The Evil of Frankenstein, the films are standalone stories with occasional vague references to previous films, much the way the James Bond films form a series. In some of the films, the Baron is a kindly, even heroic figure, while in others he is ruthless, cruel and clearly the villain of the piece. The Hammer Films series (and the actor playing the Creature) consisted of: The Curse of Frankenstein (1957 – Christopher Lee) The Revenge of Frankenstein (1958 – two Creatures: Michael Gwynn and Peter Cushing) The Evil of Frankenstein (1964 – Kiwi Kingston) Frankenstein Created Woman (1967 – Susan Denberg) Frankenstein Must Be Destroyed (1969 – Freddie Jones) The Horror of Frankenstein (1970 – David Prowse) - a black comedy remake of The Curse of Frankenstein Frankenstein and the Monster from Hell (1974 – David Prowse) In 1959, Hammer shot a half-hour pilot episode for a TV series to be called Tales of Frankenstein in association with Columbia Pictures. Anton Diffring played the Baron, and Don Megowan his creation. Curt Siodmak directed. The series was scrapped, largely because of the two companies' disagreement over what the basic thrust of the series would be: Hammer wanted to do a series about Baron Frankenstein involved in various misadventures, while Columbia wanted a series of science fiction stories loosely based around the idea of science gone wrong. Though unreleased at the time of its production, the episode is available on DVD from several public domain sources. Other films Depictions of the Monster have varied widely, from a savage, mindless brute to the depiction of the Monster as a kind of tragic hero (closest to the Shelley version in behavior) in Mary Shelley's Frankenstein, The Bride, and Van Helsing. Throughout the Universal series, he evolved from the latter to the former. Three films have depicted the genesis of the Frankenstein story in 1816: Gothic directed by Ken Russell (1986), Haunted Summer directed by Ivan Passer (1988), and Remando al viento (English title: Rowing with the Wind) directed by Gonzalo Suárez (1988). The opening scene of Bride of Frankenstein also dealt with this event. 1950s and 1960s 1957: American International Pictures (AIP) released the low-budget I Was a Teenage Frankenstein in November 1957, a few months after its successful I Was a Teenage Werewolf. In a desperate and vain attempt to be viewed as a great scientist, an unscrupulous professor creates a monster out of parts of teenagers killed in a car crash, then later directs his creation to kill a good-looking teenager to replace the monster's disfigured face. Whit Bissell stars as Professor Frankenstein, and Gary Conway plays the creature. A follow-up, How to Make a Monster, was released in July 1958. This film features actor Gary Conway as an actor playing the Teenage Frankenstein in a film. 1958: Another differing adaptation is the 1958 film Frankenstein 1970, which focuses on the themes of nuclear power, impotence, and the film industry. Boris Karloff stars as Baron Victor von Frankenstein, who harvests the bodies of actors to create a clone of himself using his nuclear-powered laboratory. His intention is to have this clone carry on his genes into future generations. 1958: This year also brought the bizarre Frankenstein's Daughter, in which a modern descendant of Frankenstein (Donald Murphy) experiments with a Jekyll/Hyde type of serum before stitching together a grotesque female creature. John Ashley and Sandra Knight co-starred. 1961: Frankenstein, el Vampiro y Cia ("Frankenstein, the Vampire and Company") is a Mexican remake of Abbott and Costello Meet Frankenstein. 1965: Ishirō Honda's 1965 tokusatsu kaiju film Frankenstein vs. Baragon was produced by Toho Company Ltd. The film's prologue is set in World War II; the Monster's heart is stolen by Nazis from the laboratory of Dr. Reisendorf in war-torn Frankfurt, and taken to Imperial Japan. Immortal, the heart survives the atomic bombing of Hiroshima and, by 15 years later, has regenerated a new body which feeds on protein, eventually growing into a giant humanoid monster named Frankenstein that breaks loose and battles the burrowing dinosaur Baragon that was destroying villages and devouring people and animals. There is also a loose sequel to this film (see below). 1965: Frankenstein Meets the Space Monster. Martians come to Earth to steal Earth's women with the goal of repopulating their planet. When they cause a NASA space craft to crash, the humanoid robot pilot (Captain Frank Saunders) becomes horribly disfigured. Becoming a "Frankenstein"-like monster, he must save the women of Earth. 1966: Jesse James Meets Frankenstein's Daughter. Director William Beaudine's sci-fi\Western contribution has what would actually be Frankenstein's granddaughter, Maria Frankenstein, cobbling a monster out of Jesse James' (John Lupton) brawny partner-in-crime, Hank Tracy (Cal Bolder), after an ambush by the law. Frankenstein renames her creation Igor. Narda Onyx plays Maria Frankenstein. 1966: The War of the Gargantuas (Furankenshutain no Kaijû: Sanda tai Gaira), also directed by Honda, is a loose sequel to Frankenstein vs. Baragon (although this fact is obscured in the U.S. version), with samples of Frankenstein's cells growing into two giant humanoid brother monsters: Sanda (the Brown Gargantua), the strong and gentle monster raised by scientists in his youth, and Gaira (the Green Gargantua), the violent and savage monster who devours humans. The two monsters eventually battle each other in Tokyo. 1970s and 1980s 1971: Dracula vs. Frankenstein by Al Adamson is an extremely low-budget horror thriller, starring aged film stars J. Carroll Naish and Lon Chaney Jr. In the film, Count Dracula (Zandor Vorkov) has the last living descendant of Frankenstein (Naish) revive his famous ancestor's creation (played by John Bloom). 1971: The Italian La Figlia di Frankenstein ("The Daughter of Frankenstein"), released in North America as Lady Frankenstein. Joseph Cotten plays Baron Frankenstein, who is killed by his creation early in the film. Sara Bay, as the Baron's daughter, creates her own creature from a handsome young man and the brain of her homely but brilliant lover (Paul Muller). 1972: Jesús Franco contributed Dracula contra Frankenstein ("Dracula vs. Frankenstein"), which hit the North American drive-in circuit as Dracula, Prisoner of Frankenstein. Baron Frankenstein (played by Dennis Price) revives Count Dracula (Howard Vernon) in order to enslave an army of vampires to help his Monster (Fred Harrison) conquer the world. 1972: Franco followed up his Dracula/Frankenstein effort with The Erotic Rites of Frankenstein (also known as The Curse of Frankenstein, but having no relation to the Hammer film of the same name). Here, Baron Frankenstein (Dennis Price again) is killed off early on by minions of the evil Count Cagliostro (Howard Vernon), who wants to use the Monster in his plots to rule the world. 1972: Frankenstein '80, a film by Mario Mancini, featured a modern-day scientist named Albrechtstein (Gordon Mitchell) creating a monster called Mosaico (Xiro Papas). Mosaico is driven to homicidal mania by lust, and by his body's constant rejection of its constituent parts. The ingenue was played by Dalila Di Lazzaro (under the pseudonym "Dalila Parker"), who later appeared as the female creation in 1973's Flesh for Frankenstein (see below). 1973: Blackenstein, a low-budget blaxploitation film. 1973: Andy Warhol's Flesh for Frankenstein has Udo Kier playing the Baron, a bizarre but brilliant scientist who creates a male and a female creature in the hopes of breeding a superior race. Joe Dallesandro plays the handyman who attempts to thwart the Baron's mad dream, and Monique van Vooren is the Baron's nymphomaniac wife. 1974: Young Frankenstein, a comedy/horror film based on Boris Karloff's three Frankenstein films made by Universal. 1976: Victor Frankenstein (a.k.a. Terror of Frankenstein), a fairly faithful version of the book, starred Leon Vitali as Frankenstein. Per Oscarson played the creature. 1981: Another Japanese version, this one animated, was Kyofu Densetsu: Kaiki! Furankenshutain (titled in the U.S. simply Frankenstein) which was released in 1981. 1983: In Star Wars: Return of the Jedi, Darth Sidious's Force Lightning effects were based on the ones used in Frankenstein. 1984: Frankenstein's Great Aunt Tillie, a comedy film based in Transylvania. 1984: Frankenstein '90, a French film by Alain Jessua, with Jean Rochefort and Eddy Mitchell. 1985: The Bride was an adaptation directed by Franc Roddam. It stars Clancy Brown as the Monster, with rocker Sting as Dr. Charles Frankenstein. The plot features the Monster wandering about Europe with a tragic circus midget (David Rappaport) while the doctor himself engages in a Pygmalion-inspired relationship with a female creation, the eponymous Monster's Bride played by Jennifer Beals. A love triangle between the doctor, the Monster, and the Bride provides the film's conflict. 1987: The Monster Squad is a comedy/horror film written and directed by Fred Dekker that was released by TriStar Pictures. The film features the reunion of a number of classic movie monsters, led by Count Dracula and including the Frankenstein Monster (Tom Noonan), the Wolf Man, the Mummy, and the Gill-Man. 1990s and 2000s 1990: Frankenstein Unbound is a science fiction movie based on the novel by Brian Aldiss and the last movie directed by Roger Corman. In it, a scientist (John Hurt) travels back in time to meet Victor Frankenstein (Raúl Juliá) and his Creature, as well as Mary Shelley herself. 1992: In Frankenstein, directed and written by David Wickes, the Creature was not pieced together from body parts but a clone (of sorts) of Frankenstein himself, establishing a psychic bond between creator (Patrick Bergin) and Creature (Randy Quaid). A female Creature was nearly created the same way, using Elizabeth (Fiona Gillies) as the model. 1994: Mary Shelley's Frankenstein was directed by Kenneth Branagh, who also portrayed Victor Frankenstein. It featured a star cast with Robert De Niro as the Monster, Tom Hulce as Henry, John Cleese as Professor Waldman, Helena Bonham Carter as Elizabeth, and Aidan Quinn as Captain Robert Walton. Despite the title, it still diverged from Mary Shelley's original novel in many ways. 2004: Van Helsing. This film is a reinvention of the famous Universal stable of monsters of the 1930s and 1940s. Shuler Hensley plays the Monster who, contrary to usual practice, is directly referred to by the name Frankenstein in the film's publicity, but he is named mostly in the film as "the Monster" or "the Creature". The portrayal of the Creature in this movie as intelligent, articulate, sympathetic, and as a hero who only wants to live, is somewhat close to the portrayal in the book. Physically, he is large and bulky, as opposed to his tall and thin portrayal in the classic films, and bears many physical features of Boris Karloff's portrayal, such as the bolted neck and flat head. He also has a visible brain and heart, which glow green and are protected under glass casings, and a large engine in his left leg. He plays a vital role in the birth of Dracula's numerous offspring through the combination of his "father's" machine that gave him life in the first place and the use of himself as a power source, allowing the numerous stillborn children Dracula has conceived with his brides over the centuries to be brought to life, requiring Van Helsing to kill Dracula himself in order to destroy the vampires' progeny. 2004: Frankenstein, a two-episode miniseries that is faithful to the novel. 2005: Frankenstein vs. the Creature from Blood Cove. In this film, Frankenstein's Monster is resurrected to fight terrorists along with a half-fish, half-man creature. However, the plan soon goes awry. 2006: Perfect Woman. This film, produced by Olympic Productions, is a modern spin on the tale. The plot follows a reality game show that is looking for the perfect woman to win the perfect man, played by Marcus Schenkenberg. Little do the girls know that the game show is a mask for an evil genius who is literally trying to make the perfect woman, using various body parts. 2006: Subject Two. This film, written and directed by Philip Chidel, has a modern nanotechnology spin on the tale. The plot follows a disillusioned medical student's journey to a remote snowbound mountain location where he is met by Dr. Vic. 2008: In Death Race, the Jason Statham character takes the place of a race car driver who goes by the name Frankenstein; the same character's beginnings are explored in the two direct-to-video prequels, Death Race 2 and Death Race 3: Inferno. 2009: Army of Frankensteins, This film is directed by Richard Raaphorst; the story tells over a fight in the year 1945 between the Polish and German borderlines at the end of the Second World War.[11] 2011: "Frankenstein's Wedding – Live in Leeds": Broadcast live on BBC Three, this adaptation uses the romance between Victor and Elizabeth as a basis for a music drama portraying the rest of the story and was filmed live on 19 March 2011 at Kirkstall Abbey in Leeds. The drama used popular music, such as "Wires" by Athlete, sung by Andrew Gower, portraying the Scientist, Frankenstein. Other members of the cast included Lacey Turner as Elizabeth "Liz" Lavenza and David Harewood as the Creature 2010: Mary Shelley's Frankenhole 2011: Frankenstein: Day of the Beast is an independent American horror film directed by Ricardo Islas. 2012: In Hotel Transylvania, Frankenstein's Monster is one of the monsters to go check in at Hotel Transylvania. This film gives him the name Frank, and he is shown as the uncle of Dracula's daughter Mavis. He is voiced by Kevin James. His Bride appears as well and is given the name Eunice in the film. The Bride is voiced by Fran Drescher in the film. 2014: I, Frankenstein is a more action-based adaptation, which includes Frankenstein's monster, now named Adam, and a centuries-old feud between two immortal races. 2015: Victor Frankenstein tells the story from Igor's point of view. 2015: Bernard Rose's Frankenstein is a modern-set adaptation of the novel, with an emphasis on portraying elements which have not typically been included in screen adaptations, particularly the Monster's intelligence and organic (as opposed to reanimated) genesis. In the film, Victor Frankenstein and his wife Elizabeth create the Monster by manipulating DNA instead of reviving corpses, and the film unfolds from the Monster's point of view.[12] 2019: Depraved is a modern adaptation of the novel written and directed by Larry Fessenden and centering on a soldier suffering from PTSD who creates life in a Brooklyn loft.[13] Parodies and satires Between 1921 and 1922, H.P. Lovecraft wrote the serialized "Herbert West, Reanimator" in six parts, as a satirical send-up of Mary Shelley's original novel. In the Mighty Mouse's 1942 cartoon Frankenstein's Cat, a community of mice and birds are living and playing peacefully until the arrival of the title character: a mechanical cat who wants to eat everything that comes his way.[14] In the 1964 cartoon Dr. Devil and Mr. Hare, a Frankenstein monster robot beats up both the Tasmanian Devil and Bugs Bunny. A 1965–1968 cartoon series featured the overly-nice Milton the Monster and "Fangenstein". In a 1968 episode of The Inspector entitled "Transylvania Mania", a smart Dracula-like character and a stupid Frankenstein-like creature try to steal the Inspector's brain to put it in a new creature that the vampire is building. The 1968 Beatles movie, Yellow Submarine, featured a scene with the Frankenstein Monster drinking a potion and becoming John Lennon.[15] The 1970 cartoon Groovie Goolies featured Frankie, a friendly version of the Monster. Howard Morris did the voice work. Franken Berry (1971), the mascot of the General Mills cereal of the same name, is a friendly parody of the Monster (cartoon and movie clip versions of the actual Frankenstein Monster have appeared in some commercials). The Mel Brooks and Gene Wilder comedy Young Frankenstein (1974) borrows heavily from the first three Universal Frankenstein films, especially Son of Frankenstein. The production used many of James Whale's original laboratory set pieces and employed the technical contributions of their original creator, Kenneth Strickfaden. Wilder portrays Dr. Frankenstein's American grandson, Frederick, while Peter Boyle plays the Monster. A Turkish remake, Sevimli Frankestayn was released in 1975. Brooks later adapted his film for musical theater. The musical Young Frankenstein opened on Broadway in November 2007. The Rocky Horror Picture Show (1975) was a musical parody of the story. In this twisted comedic tale, Dr. Frank N. Furter creates a creature for his own pleasure (named 'Rocky') and finds that his creature has heterosexual lusts as well. In the 1976 live action Saturday morning show, Monster Squad, three monster statues from a wax museum come to life to fight crime, Dracula, Bruce W. Wolf (a werewolf), and Frank N. Stein (Frankenstein's Monster). The monster was portrayed by Michael Lane The 1995 Disney Mickey Mouse short Runaway Brain features Mickey going to the nefarious Dr. Frankenollie and having his brain switched with a monster's. The 1982 young adult novel Frank and Stein and Me by Kin Platt has the protagonist meet the strange Dr. Stein and his hulking creature Frank while on the run from smugglers. In the novel Frank is described as an accident victim that Dr Stein has saved from death and rebuilt. The book features a running joke with Stein being confused by references to Frankenstein, being unfamiliar with the story. The 1985 teen comedy Weird Science stars two high school students, who are inspired by the original Universal film to create through a Memotech MTX512 home computer a virtual idealistic girlfriend, but the situation degennperates when they, hacking into a government mainframe for more power and engaging in a weird ritual, end up creating an actual girl. The film and the music video for the theme and the song of the same name by Oingo Boingo features a clip of the "It's Alive!" scene and frontman Danny Elfman doing an impression of Dr. Frankenstein in the music video. Frankenhooker (1990) is a parody of the Universal films in which Jeffrey Franken gathers body parts from various streetwalkers in order to build the "perfect" woman. This same concept was borrowed for 2006's Perfect Woman (mentioned above). The Tim Burton film Frankenweenie and it's 2012 remake bear many references to the Frankenstein story. A 2001 short film called Frankenthumb, directed by Steve Oedekerk, a parody of the 1931 film told with thumbs with superimposed faces and elaborate miniature sets. Return of the Killer Tomatoes (1988) includes a scene in which the lead character is watching a movie called Frankenstein's Mummy (as a spoof of the 1940s sequel titles) on nighttime television. Return also features a character named Igor who parodies the "hunchbacked assistant" cliche upon his first appearance in the film. Frank Enstein (1992) is a direct-to-video children's film about a robot named "Frank Enstein" who goes on an adventure. The Addams Family (2019) features a scene where Wednesday brings the dead frogs in science class back to life a la Dr. Frankenstein in a parody of the 1931 film. Television derivatives The Frankenstein story and its elements have been adapted many times for television: The anthology series Tales of Tomorrow (1951–53) featured a half-hour adaptation starring Lon Chaney Jr. as an atomically animated monster. The "Moosylvania" episode of Rocky and His Friends showed Boris and Natasha attempting to pass off some small Western town as Washington, D.C.—and the Capitol Building is topped off with a statue of Frankenstein's Monster. A 1959 Hammer Film Productions half-hour pilot episode called Tales of Frankenstein. Anton Diffring played the Baron, and Don Megowan his creation. Curt Siodmak directed. Boris Karloff reprised his role wearing the Frankenstein Monster makeup in a 1962 episode of Route 66 titled "Lizard's Leg and Owlet's Wing" for Halloween. Also appearing in the episode were Lon Chaney Jr. as both the Wolf Man and the Mummy, and Peter Lorre. Universal produced a television sitcom from 1964 to 1966 for CBS entitled The Munsters with Fred Gwynne as Herman Munster, a character physically resembling Universal's cinematic depiction of Frankenstein's Monster, who was the patriarch of a family of kindly monsters. The rest of the family included a grandfather resembling the Universal Dracula (who may actually be Dracula), a wife that resembles one of the Brides of Dracula, and a werewolf son. The Munsters' house at 1313 Mockingbird Lane can still be seen on the Universal Studios' backlot tour at Universal Studios in Universal City, California. In the 1960s series The Addams Family, the family butler was Lurch, who looked and behaved very much like the Creature. Asked about his father in an episode of The Addams Family (1992 TV series), Lurch smiled and replied, "He put me together!" His vocabulary was limited, much like Boris Karloff's creature, but he became iconic for the catchphrase, "You rang?" The 1965 Doctor Who serial The Chase features a sequence set in what appears to be a mysterious old house where various horror film monsters, including Frankenstein's Monster, menace first the Doctor and his companions and later the Daleks. The house is subsequently revealed to be a Haunted House exhibit at an event entitled the "Festival of Ghana, 1996" A 1976 Doctor Who serial, The Brain of Morbius, has a Time Lord criminal brought back to life by a mad scientist, using the Time Lord's brain and a body composed of various alien races who had crashed onto the planet where Morbius' brain had been stored since his defeat. The regeneration sequence of the seventh Doctor, Sylvester McCoy, into the eighth incarnation, Paul McGann, in the 1996 TV movie Doctor Who is set in a hospital morgue. The night attendant at the morgue is watching the 1931 Frankenstein in the next room, and scenes in which the monster is brought to life are intercut with images of the Doctor's "resurrection", his appearance out of the storage room then causing the attendant to pass out. In The Famous Adventures of Mr. Magoo episode "Doctor Frankenstein", the titular nearsighted Mr. Magoo plays the mad scientist Victor in what is surprisingly a semi-accurate adaptation to the original book by Mary Shelley, even for a kid's cartoon, with some notable similarities not featured in the 1931 film, such as featuring the Monster being intelligent, Captain Walton and writing Victor's story into a letter, the Monster saving the little girl, and the possibility of a race of Monster-like beings that could take over the world. Milton the Monster (1965–67) was a cartoon character developed shortly after The Munsters about a kind-hearted Frankenstein monster who famously "flipped his lid" (emitted steam out of the top of his head like a whale's blowhole) when angered, and who was constantly nearly kicked out of the lab by his scheming creator, Professor Weirdo. In the 1966 animated series Frankenstein Jr. and The Impossibles, a boy scientist Buzz Conroy and his father Professor Conroy fight supervillains with the aid of a powerful heroic robot named "Frankenstein Jr." who is like a mix between "Gigantor" and Frankenstein's Monster. The Gothic drama Dark Shadows featured a plotline running from April 1968 until December 1968 in which an artificial man named Adam is stitched together from corpses and reanimated using the life force of vampire Barnabas Collins. The 1968 Thames series Mystery and Imagination featured an adaptation starring Ian Holm as both Frankenstein and his creation. The 1970-71 Saturday morning cartoon series Groovie Goolies was a parody of both the Universal monsters and Rowan and Martin's Laugh-In. The leads were the Monster Trio of Drac, Wolfie, and Frankie, a friendly version of the Monster. Howard Morris did Frankie's voice. The 1971 Canadian series The Hilarious House of Frightenstein included a failed Frankenstein's-monster-like creation named Brucie who needed to be revived by Count Frightenstein in order to return from exile to Transylvania. Frankenstein's Monster was one of the monster trio from various skits on The Electric Company, portrayed by Skip Hinnant. Dan Curtis' 1973 adaptation had Robert Foxworth as Frankenstein and Bo Svenson as the Creature. A 1973 Universal production, Frankenstein: The True Story, was more an amalgamation of various concepts from previous films than a direct adaptation of the novel. It starred Leonard Whiting as Frankenstein and Michael Sarrazin as the Creature, with a star supporting cast including James Mason, David McCallum, John Gielgud, Ralph Richardson, Agnes Moorehead and Jane Seymour. "Dr. What's-his-name", an episode of the 1975 live action series The Ghost Busters, features a long-suffering Doctor Frankenstein whose goal is to make his gigantic, childlike Creature more obedient with the brain of "the world's most gullible fool". Spenser (Larry Storch), of course, is the world's most gullible fool... In the 1976 live-action Saturday morning show Monster Squad, three monster statues from a wax museum come to life to fight crime, Dracula, Bruce W. Wolf (a werewolf), and Frank N. Stein (Frankenstein's Monster). The monster was portrayed by Michael Lane. In an episode of Fantasy Island, Dr. Anne Frankenstein, a descendant of Dr. Frankenstein, visits the island to try to find out about her ancestor. A being created by the elder scientist appears, and Anne is determined to take the being with her, naively believing that it will be treated with proper care in the 1980s. CBS Television aired a 1979 series starring Jack Elam as Frank (the Monster) and Jeffrey Kramer as Ted Stein, a descendant of Dr. Frankenstein, called Struck by Lightning.[16] In an episode of The World's Greatest Super Friends, the Super Friends battle Dr. Victor Frankenstein and three of his monsters, one with all of the powers of Superman, Wonder Woman and Batman. The 1980s cartoon Drak Pack featured Frankie, a descendant of the Monster who could assume his form as a superhero guise. One of Arale's classmates in Dr. Slump was named Monsuta (a.k.a. Frank). A 1984 Yorkshire Television version starring Robert Powell as Victor, David Warner as his Creature, and Carrie Fisher as the doomed Elizabeth. An episode of The Catillac Cats has Riff Raff as a mad scientist about to be beaten up by Mungo/Frankenstein's Monster. In Dragonball, young Goku befriends a cyborg named Number 8 (whom he nicknames Ha-chan) who was similar in appearance to Frankenstein's Monster. (1987) In The Comic Strip, he has a son named Franky who attends Camp Mini Mon. In the Scooby-Doo television movie Scooby-Doo and the Ghoul School, Scooby, Shaggy and Scrappy-Doo meet the daughters of several monsters at "Miss Grimwood's School for Girls". One of the 'girl ghouls' (as they are called in the movie) is named Elsa Frankenteen, her father being Frankenteen Sr. Frankenteen Sr. is the best representation of Boris Karloff's creature, with his daughter more closely resembling Elsa Lanchester's interpretation of the Bride of Frankenstein. "Frankenteen" is also a portmanteau of "Frankenstein" and "teen" because Elsa is a teenager. The New Adventures of Winnie the Pooh episode "Frankenpooh" is a parody in which Pooh is the Monster and Piglet is the scientist who made him. In The Simpsons 2003 installment of the Treehouse of Horror series, Treehouse of Horror XIV, there is a segment entitled "Frinkenstein", whereby Professor Frink uses his universal multi-tool to resurrect his dead father, who then goes on a rampage stealing organs from others until his son is forced to kill him. In Treehouse of Horror XVIII, Bart wears a costume resembling the Monster. In Treehouse of Horror XX, he appears as one of the monsters at Homer and Marge's Halloween party wearing modern costumes after being teased by Jimbo, Kearney and Dolph, and in Treehouse of Horror XXI as the monster Frink created in his lab. Also in Treehouse of Horror III, Lewis is wearing a Halloween costume of the Monster at the Halloween party with Bart and Lisa. As played by Phil Hartman, the Monster was also a popular recurring comedic character on Saturday Night Live in the early 1990s, often delivering the line, "Fire bad!" The 1995 Fox "Tiny Toon Adventures" special Tiny Toons' Night Ghoulery offers about a dozen shorts introduced in the style of the 1970s program Night Gallery, with Babs Bunny stepping in for Rod Serling. One of the segments, "Frankenmyra & Dizzigor", is a parody of Frankenstein. An episode of Darkwing Duck had a spoof called "Steerminator" in which dead supervillain Taurus Bulba is rebuilt into a cyborg. A 1992 production for the American TNT cable network, with Patrick Bergin as Victor and Randy Quaid as his hapless creation. An episode of Goof Troop had a spoof called "Frankengoof"; despite the title, the monster is a mirror image of Black Pete. There were two instances where the concept of Frankenstein's Monster was used in the Super Sentai and Power Rangers series. In Kyōryū Sentai Zyuranger, the monster Dora Frank was an obvious nod to the Monster, as well as its Mighty Morphin Power Rangers counterpart, which was simply referred to as the "Frankenstein Monster". Then, in Mahou Sentai Magiranger one of the main villains, Victory General Branken, was inspired by Frankenstein's Monster. Branken's Power Rangers: Mystic Force counterpart was Morticon. In a 1993 episode of Mighty Morphin Power Rangers, Frankenstein's Monster was created by Rita Repulsa to destroy the rangers. A season five episode of The X-Files, "The Post-Modern Prometheus" retold the Frankenstein legend updated with genetic engineering technology. The episode, the only one of the series filmed exclusively in black and white, was inspired by the film adaptations of the legend; the creature, shunned by the mad scientist who created him, seeks a mate in a small town. In the 1994 animated series Monster Force, Frankenstein's Monster, alias "Frankenstein" or "the Monster", becomes humanity's ally in a desperate fight against evil Creatures of the Night. The comedy series called Weird Science (1994–98) was inspired by the Frankenstein storyline (just as the 1985 film of the same name was). The series follows the adventures of two high school students who design their "perfect" woman simulation by filling their computer with various forms of data and images, which is accidentally turned into life after a freak lightning storm. "Frankenbone", a 1995 episode of the PBS children's series Wishbone, had an adaptation of Shelley's novel that stayed true to the original story with the canine star in the role of Victor and Matthew Tompkins as the Monster. The Animaniacs episode "Phranken-Runt", featuring Rita and Runt, parodied both the overall Frankenstein plot and elements of The Rocky Horror Picture Show. The 1996-98 Fox Kids series Big Bad Beetleborgs (later Beetleborgs Metallix) featured a "hulking stitched-up" character named Frankenbeans, "brought to life" by David Fletcher. The zany character owes a great debt to Herman Munster and Peter Boyle in Young Frankenstein. Strangely, the character is celebrated every year on the Thursday before the last Friday of October on a day called Frankenbeans Thursday.[17] The children's animated series Arthur has an episode depicting a reenactment of the night the novel was created. Titled Fernkenstein's Monster, it was described as: "Inspired by Mary Shelley's Frankenstein, Fern tells a tale so scary that Arthur and the gang become afraid of her. Can Fern prove her skills as a writer and create a different story that's fun instead of frightening?" Nightmare! The Birth of Horror (U.S. title: Nightmare! The Birth of Victorian Horror) was a BBC miniseries with Professor Christopher Frayling. There were four episodes on classic horror tales: Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde, and The Hound of the Baskervilles. Each episode began on looking at the author's nightmares or encounters with the nightmarish and how it inspired their novel. Buffy the Vampire Slayer has also faced "Frankensteinian" creations. In the season 2 episode "Some Assembly Required, the creation was Darryl Epps, a reanimated high school jock whose brother reanimated him after an accident, but after his brother refused to complete a project to create a bride for him as the rapid decay rate of brain tissue would have required him to actually kill someone, Darryl allowed himself to die in a fire rather than have to live alone. The season 4 Big Bad was Adam, a conglomeration of robot, human, and demon parts created by a government scientist in charge of a demon research facility who rebelled against his creator, whom he referred to as 'Mother', mirroring the statements of the Creature, who believed that Frankenstein should have been a better father, and tried to create a new society of creatures like him before he was destroyed. In the Histeria! episode "Super Writers", at the end of a sketch about Edgar Allan Poe publishing "The Raven", Mary Shelley appears (portrayed by Charity Bazaar dressed as the Bride of Frankenstein) to pitch the book to Sammy Melman. An episode of SpongeBob SquarePants called "Frankendoodle" involves SpongeBob using a human artist's "magic pencil" to create a living, evil doodle of himself. The 2000 anime television series Argento Soma draws a large amount of inspiration from Frankenstein. The series' plotline revolves around an ambitious scientist assembling a giant silver creature from scattered components. The giant (aptly nicknamed "Frank") possesses a tender and compassionate nature but has a bizarre and hideous exterior and the potential to inflict death and destruction. In the Halloween special of another Nickelodeon series, The Adventures of Jimmy Neutron: Boy Genius, Jimmy's invention, the Neutronic Monster Maker, features Frankenstein's monster as one of the choices. Jimmy's father, Hugh, undergoes such mutation turning him into a Frankenstein's Monster-like being after mistaking the machine for a game he calls "Name that Monster". The Duck Dodgers episode "Castle High" revolved around the main character explaining to I.Q. High what had happened to his castle, the flashback based on the story. A 2004 production titled Frankenstein for the American USA Network starred Thomas Kretschmann as Victor and Vincent Pérez as his original creature, named "Deucalion" (because he was the "son" of the "Modern Prometheus". It was not a direct adaptation but a postmodern Gothic reinvention set in present-day New Orleans. The Monster was a recurring character on Late Night with Conan O'Brien (played by Brian Stack), mainly in the segment "Frankenstein Wastes a Minute of Our Time" and as a Jewish character. The Cartoon Network series Robot Chicken featured a Frankenstein parody character called "Frank Enstein". In Ben 10, Transylians are a race of electrokinetic aliens from Anur Transyl that resemble Frankenstein's Monster, with Frankenstrike (formerly known as Benvicktor) as their DNA sample for the Omnitrix. In the series Kamen Rider Kiva, Dogga's race, the Franken, is an obvious nod to the Monster, along with Kiva's Dogga form. In the original Transformers episode "Autobot Spike", Sparkplug Witwicky creates an Autobot using mismatched robot parts that he names Autobot X, but the robot is a mindless monster and goes berserk. Later, Spike Witwicky is injured and his consciousness is transferred to the giant robot body. Spike makes several direct references to the invention as a "robot Frankenstein Monster". Also, the character of Rampage in the Transformers: Beast Wars series has a great many similarities to Frankenstein's Monster, especially his origins as a product of science gone horribly wrong; the main differences are his status as an irredeemable psychopath and that his body was not created by piecing others together. In a later episode, Megatron's cloning of Dinobot bears a strong resemblance to the creation of the Monster. In an episode of Time Warp Trio entitled Nightmare on Joe's Street, Mary Shelley accidentally draws her first impression of the Monster in The Book, causing her dream to become a reality. Unlike typical versions of the Creature, which have one-colored complexions, this render of the Monster is seen with patchwork-colored skin, signifying his construction from various corpse parts. In The Super Mario Bros. Super Show! episode "Koopenstein", Bowser (under the guise of Dr. Koopenstein) plans to use Mario and Luigi's brains for a robotic Koopa Troopa he has made, but through the result of a horrific accident, he mutates into a Frankenstein's Monster-esque version of himself and proceeds to rampage through a nearby village. A live action segment from another episode, titled "The Mario Monster Mash", features Mario and Luigi meeting Dr. Frankenstein (played by Eugene Liebowitz) and his Monster, where a laboratory mishap causes Mario's brain to be switched with the Monster's. In a 15-minute episode of Sonic the Hedgehog, Rotor the Walrus, assisted by Antoine, creates a robot named Ro-Becca. Antoine accidentally activates Ro-Becca and she falls in love with him. Two segments from Braingames showed Frankenstein's monster. One was "Splatnarnt", in which two scientists assembling a Frankenstein's-monster-like creature using interior body parts whose names were scrambled; the idea was for the viewer to unscramble the names. The other was "Whosamawhatchamacallits", in which Frankenstein's Monster was the last character portrayed in the game. An animated segment on Sesame Street showed a mad doctor bringing to life a Frankenstein Monster-like creature that was actually a capital letter H. Dr. Frankenstein and Frankenstein's Monster appeared in Mad Monster Party?, Mad Mad Mad Monsters and Alvin and the Chipmunks Meet Frankenstein, while Frankenstein's Monster appeared in Scooby-Doo and the Reluctant Werewolf. An ITV modern adaptation simply titled Frankenstein was aired on 24 October 2007, where a mother uses lab equipment to try to create a "body of organs" for her dying eight-year-old son. The fifth-season episode of Highlander: The Series titled The Modern Prometheus has Mary Shelley draw her inspiration from two immortals battling during the long winter in the Swiss Alps. Upon seeing Byron (in the series secretly an Immortal) restored to life by lightning, she asks Methos why her child rots in her grave while Byron simply gets up and walks away. Methos admonishes her to pity their kind, for life can go on when it should not. The isolation he describes enables Shelley to write her classic. In the Star Trek:The Next Generation episode "Thine Own Self", android Lt. Commander Data suffers amnesia as a result of a power surge and is misunderstood as a monster by natives of a primitive society. Two animated segments from Sesame Street teaching basic geography were hosted by Dr. Geo and his Frankenstein-like unnamed assistant who would mimic everything Geo said behind his back. One segment talked about the concept of a globe and the other about mountains. In a season 3 episode of the NBC television series Chuck, Chuck refers to John Casey as "Trank-enstein", due to the NSA colonel's love of weaponry (in this case, tranquilizer darts) and typical brutish mannerisms. In the Adult Swim animated series Minoriteam, the title characters frequently fought an opponent named Racist Frankenstein. Frankenstein's Monster and the Bride of Frankenstein's Monster are the father and mother of Frankie Stein in Monster High. Frankenstein's Wedding was a live television adaptation broadcast on BBC Three on 19 March 2011. 2009: Wizards of Waverly Place, episode 1 season 3 "Franken Girl", Justin's monster. In an episode of the cartoon series The Venture Bros., entitled "¡Viva los Muertos!", Dr. Venture reanimates the corpse of a Monarch henchman killed by Brock Samson, naming the creature "Venturestein". In the television series Once Upon a Time, David Anders plays the mysterious Dr. Whale who is revealed to be the "real life" counterpart of Dr. Victor Frankenstein in season 2. Episode 7x07 of Criminal Minds deals with a serial killer who murders young men and removes their body parts in an attempt to build a new body for his deceased brother. In the anime/manga Soul Eater, Professor Frank N. Stein is a teacher and meister at the DWMA (Death Weapon Meister Academy). In 2014, PBS and Pemberley Digital created a webseries based on the original novel, called Frankenstein, M.D.; the series brings the story to modern days, following the medical student who subsequently becomes Doctor Victoria Frankenstein.[18] In the Supernatural season 10 episode "Dark Dynasty", Eldon Styne reveals that his family, the Styne Family and the main enemies of Book of the Damned, Dark Dynasty and The Prisoner are in actuality members of the House of Frankenstein, one of the oldest families in Europe. Victor Frankenstein, the Creature and the Bride are major characters of the Showtime series Penny Dreadful. In the television series Grimm, the sixth season episode "The Son Also Rises" features a group of scientists attempting to bring the son of one of their number back to life in a Frankenstein-esque experiment, but their work goes wrong when the reanimated body was created using the body parts taken from dead wesen, causing an extreme reaction that provokes the scientists to try and kill him, prompting the boy to go after them in revenge. In the first episode of the animated television series VeggieTales, "Where's God When I'm S-Scared?", the plot of the first story revolves around Junior Asparagus's fear of an in-universe version of Frankenstein's Monster called "Frankencelery." The Halloween episode of Animaniacs (2020 TV series) had a segment parodying Frankenstein called "Bride of Pinky", in which Dr. Brainenstein builds a female monster in a plan to take over his village, only for Pee-Gor to fall in love with her. Phineas and Ferb had a Frankenstein parody in "The Monster of Phineas-and-Ferbenstein" in which the boys' ancestors build a giant monster version of Perry. Also, the episodes "One Good Scare Ought to Do It!" and "That's the Spirit!" both feature Ferb dressed as Frankenstein's Monster, with Phineas dressed as Dr. Frankenstein in the former. In the Mickey Mouse (TV series) Halloween special "The Scariest Story Ever!", the first story Mickey tries to scare his and Donald's nephews with is a parody of Frankenstein, with Goofy, Donald and Mickey as Dr. Goofenstein, Duckor and the Monster, respectively. Both of the TV shows Mister Magoo and The Famous Adventures of Mr. Magoo had adaptations of Frankenstein. In the Cloudy with a Chance of Meatballs (TV series), there is an episode called “Flintenstein” when Flint Lockwood and the class watch the original Frankenstein movie. However, Flint is disappointed as he considers it to be “Hollywood science”, as Flint believes that Dr. Victor Frankenstein in the movie does not behave the way normal scientists would and says he makes other inventors look bad. However, to prove it is actual science, he just grabs whatever junk he can find in the lab and then Flint's creation comes to life after the lab is struck by a lightning bolt. However, Flint's monster is really kind and friendly and calls him “Daddy”, despite Flint trying his best to prove that this monster is not his son. After hanging out though, Flint feels close to his creation until the citizens of Swallow Falls form a mob and try to get rid of him. By the end, however, Flint has to transport his creation into another universe with a portal machine and finds a lover. Both versions of Wacky Races have a parody of the Monster as half of the Gruesome Twosome. Other derivatives Music The 1962 novelty song "Monster Mash" is narrated by a Dr. Frankenstein-like character, who talks about his Monster learning a new dance. "Frankenstein" is a 1973 instrumental by the Edgar Winter Group - so named because it was constructed from bits and pieces of several different takes. The video for Yazoo's song "Don't Go" featured a Frankenstein theme. In the video for her 1983 song "Telephone (Long Distance Love Affair)", Sheena Easton is pursued through a haunted house by Frankenstein's Monster. In The Dead Milkmen video "Big Time Operator" lead singer Rodney is depicted as FrankenElvis. For their 1987 single, "Doin' It All for My Baby", Huey Lewis and the News used a Frankenstein theme in a video performance. The lyrics of T'Pau's 1987 song "China in Your Hand" reference Frankenstein.[19] "Frankenstein" is a song by funk metal band Clutch from Pure Rock Fury. "Dr. Stein", a song produced by the power metal band Helloween for their 1988 album Keeper of the Seven Keys, Pt. 2, is based on Victor Frankenstein and his Monster. Hillbilly Frankenstein was the name of a band formed in 1988 in Athens, Georgia. Rock musician Alice Cooper recorded a song titled "Teenage Frankenstein" for his 1986 album Constrictor, and recorded "Feed My Frankenstein" for his 1991 album Hey Stoopid. The latter song was also featured in the 1992 film Wayne's World. Electric Frankenstein is an American punk rock band from New Jersey. Frankenstein Drag Queens From Planet 13, a horror punk band formed in North Carolina in 1996. How I Made This, the multimedia musical composition of Ukrainian-born Russian composer Evgeni Kostitsyn, won first place at the First International Competition for Composers in the Ukraine in 1998. Sam Cooke's song "Another Saturday Night" includes a verse that goes: "Another fellow told me / He had a sister who looked just fine. / Instead of being my deliverance, she had a strange resemblance / To a cat [guy] named Frankenstein." Frankenstein Girls Will Seem Strangely Sexy is the title of a 2000 album by the band Mindless Self Indulgence. "Frankenstein" is a song by American metal band Iced Earth from their 2001 album Horror Show, which features songs themed after classic movie monsters. "Some Kind of Monster" is a 2004 song by Metallica which uses themes from Frankenstein. "Jesse James meets Frankenstein's Daughter" is a song by American Folk musician Space Mandino. The Rammstein song "Mutter" is about a monster that kills its creator or mom in this case. The musical The Rocky Horror Picture Show includes a song called "There's A Light (Over At The Frankenstein Place)" The Abby Travis music video for her 2011 single Lightning Squared is a cartoon parody of the Frankenstein story, with the Monster and his Bride as doomed lovers forever on the run from an angry mob. The punk band Crass referenced Frankenstein in the song "Reject of Society". Dr. Frankenstein a concept album/rock opera written by Cuban/Mexican musician José Fors, was based on both the original novel and James Whale's films. It was released in 2009. East Bay hardcore punk band The Nerve Agents included a song called "Planet Frankenstein" on a split EP they released in collaboration with New York hardcore punk band Kill Your Idols in 2000. Toy Love released a 1980 single, "Bride of Frankenstein". The German band Oomph!'s song "Brennende Liebe" details a sort of Frankenstein scenario, and the video features Frankenstein, his wife, and the scientist and his associates. The rock band Glass Wave included a song about Frankenstein's Monster (entitled "Creature") on their 2010 album. The lyrics are sung through the Creature's voice. Kevin Max's song "Jumpstart Your Electric Heart", from his 2005 album The Imposter is a modern-day retelling of Shelley's Frankenstein. In the "Weird Al" Yankovic song parody, "Perform This Way", Frankenstein was mentioned on the lyrics. Pop singer Chisu released a single titled "Frankenstein" in 2012 with Finnish lyrics. It was also used as the theme song for a dark comedy TV series in Finland, Helsingin herra, in 2012.[3] Bob Dylan's 2020 song "My Own Version of You", featuring a narrator who wants to "bring someone to life" using the body parts of disparate corpses, was inspired by Shelley's novel and makes several explicit references to it in the lyrics.[20] In their song "Maniac" from the EP Oddinary (2022), Stray Kids encourages listeners to embrace the odd sides in themselves and show how maniac they can be using the metaphor of Frankenstein. They included the Frankenstein reference in their lyrics, choreography, and promotional photos.[21] In Swedish House Mafia and ASAP Rocky's "Frankenstein" from Paradise Again, ASAP Rocky compares himself and frequent collaborator Tyler, the Creator to Victor Frankenstein and Igor, respectively, the latter of whom has an album called Igor which refers to the character's archetype. Radio On August 3, 1931, Alonzo Dean Cole adapted the novel as a 30-minute episode of his program The Witch's Tale. It was redone on March 7, 1932 and July 17, 1935. In 1932, George Edwards produced a 13-part, 3-hour series for radio. It follows the structure and spirit of the novel closely. On January 8, 1944 it was adapted as a 30-minute drama on the syndicated program The Weird Circle. On December 13, 1947 it was adapted as a 30-minute drama on the program Favorite Story. In 1952, an adaptation was broadcast on NBC Presents: Short Story. A 30-minute drama version was broadcast on Suspense on November 3, 1952 starring Herbert Marshall and again on June 7, 1955 starring Stacy Harris. In 1994, BBC Radio 4 broadcast a two-part adaptation written by Nick Stafford and directed by Claire Grove, with Michael Maloney as Frankenstein and John Wood as the Creature.[22] In 1999, the Radio Tales drama series presented an adaptation of Mary Shelley's novel for National Public Radio. In 2012, BBC Radio 4 broadcast a two-part adaptation as part of their Gothic Imagination series written by Lucy Catherine and directed by Marc Beeby, with Jamie Parker as Frankenstein, Shaun Dooley as the Monster and Susie Riddell as Elizabeth.[23] In 2014, Big Finish Productions released an audio version by Jonathan Barnes directed by Scott Handcock[24] starring Arthur Darvill as Victor Frankenstein, Nicholas Briggs as Waldman/the Creature, Geoffrey Beevers as Alphonse Frankenstein/DeLacey, Georgia Tennant as Elizabeth and Terry Molloy. Parodies have been broadcast on radio: On January 12, 1945 Boris Karloff guest-starred on Duffy's Tavern and appeared in a parody of Frankenstein. On January 27, 1957 The Goon Show broadcast The Curse of Frankenstein (which actually had nothing to do with the Frankenstein story except for the title). On March 10, 1968 the BBC Radio comedy series Round the Horne broadcast as part of its "Movies Gone Wrong" segment "Frankenstein's Monster". On August 7, 2008, in the Bleak Expectations episode "A Happy Life, Cruelly Re-Kippered", the antagonist Gently Benevolent is brought back to life using electricity by the mad scientist Francis Norman 'Frank N.' Sternbeater, one of many of Benevolent's step-siblings who serve as his evil accomplices. On November 20, 2014, in Series 4 Episode 6 of the BBC Radio comedy series John Finnemore's Souvenir Programme, when Finnemore's storyteller character is invited to Castle Krupenstein for a scientific demonstration, he is greeted by a slow, groaning character (voiced by Simon Kane) who he believes is 'Krupenstein's monster', but who is in fact her husband. Dr. Gretchen Krupenstein is revealed to have invented a time machine, not a means of reanimation. Stage Presumption; or, the Fate of Frankenstein, written by Richard Brinsley Peake, was produced at the English Opera House in London in 1823. Frankenstein, or The Vampire's Victim is an 1887 musical burlesque composed by Meyer Lutz and written by Richard Henry. Frankenstein is an experimental theatre play created by The Living Theater, a company founded in 1947 and originally based in New York, but mainly touring in Europe in the late 1960s. A Broadway adaptation of the story by Victor Gialanella played for one performance on January 4, 1981 (after 29 previews) and was considered the most expensive non-musical flop ever produced to that date.[25] However, the New York Times writer Carol Lawson observed that "critics have remarked that Mr. (Bran) Ferren's work on this play (the special effects and sound designer), which included the spectacular destruction of Dr. Frankenstein's laboratory by his Monster, had the lavishness that audiences have come to expect in films, but have never before seen in the theater." It is noteworthy for John Carradine's playing the part of the blind "DeLacey". Also starring were David Dukes as "Victor Frankenstein", Dianne Wiest as "Elizabeth", John Glover as "Henry Clervel", and Keith Joachim as "the Creature".[26][27] The Guthrie Theater in Minneapolis commissioned Barbara Field to write a response/adaptation to Shelley's novel. The play, called "Frankenstein - Playing with Fire," went on a national tour in early 1988[28] before playing at the Guthrie during the summer of 1988.[29] The Guthrie restaged the play in September–October 2018.[30][31] FRANKENSTEIN, a musical theatre adaptation by Eric B. Sirota (book, music and lyrics) opened at St. Luke's Theatre, an Off-Broadway venue in NYC on Oct. 9, 2017, and continued to run there into its fourth calendar year until the pandemic. It is described as "a sweeping romantic musical about the human need for love and companionship." Catalyst Theatre's musical adaptation premiered in 2007 in Edmonton and had subsequent productions in Banff (Eric Harvie Theatre), Vancouver (The Cultch), Saskatoon (Persephone Theatre), Calgary (Theatre Calgary/High Performance Rodeo), Whitehorse (Yukon Arts Centre), and Toronto (Canadian Stage). Book, music and lyrics by Jonathan Christenson, from the original novel. Joined At The Heart is a musical with music and lyrics by Graham Brown and Geoff Meads, book by Frances Anne Bartam and directed by Frances Brownlie. It tells the love story of Victor Frankenstein and his step-sister Elizabeth, a young orphan girl taken in by Victor's parents and cared for as if she were their own daughter. When Victor's mother dies, he vows to end the suffering that death brings by pursuing eternal life. Joined At The Heart reached the final of the Worldwide Search for Musicals competition. The show was produced at The Junction 2 in Cambridge, UK from 1–4 August 2007 and at the Edinburgh Fringe in Scotland from 12–18 August 2007. Young Frankenstein, a musical theatre adaptation of Mel Brooks' Young Frankenstein, opened in November 2007 and closed in January 2009.[32] Frankenstein - A New Musical, a pop-opera adaptation which adhered closely to the original novel, opened at 37 Arts Theatre, New York, in autumn 2007 and closed in December 2007. The first UK performance was at The Stables Theatre Hastings in May 2009. Music was by Mark Baron, book by Jefferey Jackson and Gary P. Cohen.[33] A performance storytelling production of Frankenstein is currently touring both in the UK and internationally. It is performed by storyteller Ben Haggarty and the composer, singer and musician Sianed Jones.[34] Frankenstein, a play adapted by Nick Dear from the original novel, premiered at the Royal National Theatre in 2011. This production originally starred Benedict Cumberbatch and Jonny Lee Miller alternating in the roles of Victor Frankenstein and the Creature. A recording of the performance was broadcast live in cinemas worldwide in March 2011. It was later produced in the Sydney Opera House and the Denver Center for the Performing Arts. A Korean musical adaptation of the book, written and directed by Wang Yong-beom and songs by Lee Seong-joon, premiered on March 11, 2014.[35] The show achieved unprecedented level of success for an original domestic production, and future Japanese and Chinese productions are on the way.[36] The Royal Ballet's production of Frankenstein in collaboration with San Francisco Ballet was produced and choreographed by Liam Scarlett, score by Lowell Liebermann and costume and set by John Macfarlane, with Federico Bonelli as Victor, Laura Morera as Elizabeth and Steven Mcrae as 'the Creature' on opening night. It was also broadcast live to cinemas on 18 May 2016. The production premiered 4 May 2016 and the run lasted until 24 May 2016. The ballet is being revived for the first time in the 2018/2019 season from the 5–23 March 2019 with a run of nine shows.[37] Novels The story of Frankenstein and "Frankenstein's monster", has formed the basis of many original novels over the years, some of which were considered sequels to Shelley's original work, and some of which were based more upon the character as portrayed in the Universal films. Yet others were completely new tales inspired by Frankenstein. 1913: Edgar Rice Burroughs' The Monster Men features a scientist going to a remote Indonesian island, there to try to create an artificial human being. He actually creates no less than thirteen of them - but there are many problems. 1957: French screenwriter Jean-Claude Carrière wrote six Frankenstein novels in 1957 and 1958 for Angoisse, the horror imprint of publisher Fleuve Noir, under the house pseudonym of Benoît Becker (with plotting assistance from Guy Bechtel for the first novel). 1. La Tour de Frankenstein [The Tower of Frankenstein] (FNA No. 30, 1957) 2. Le Pas de Frankenstein [The Step of Frankenstein] (FNA No. 32, 1957) 3. La Nuit de Frankenstein [The Night of Frankenstein] (FNA No. 34, 1957) 4. Le Sceau de Frankenstein [The Seal of Frankenstein] (FNA No. 36, 1957) 5. Frankenstein Rôde [Frankenstein Prowls] (FNA No. 41, 1958) 6. La Cave de Frankenstein [The Cellar of Frankenstein] (FNA No. 50, 1959) Carrière followed the footsteps of the Monster, christened Gouroull, as he made his way back from Iceland, to Scotland, and then Germany and Switzerland, from the late 1800s to the 1920s. The plots have the Monster pursuing his own evil agenda, unafraid of the weaker humans. Even people who try to help or reason with him are just as likely to be killed by the inhuman fiend. Two further novels were published in the series by Black Coat Press. The books, The Quest of Frankenstein and The Triumph of Frankenstein, were written by Frank Schildiner. 1972: Popular Library published a series of nine novels called The Frankenstein Horror Series. Despite the title of the series, only the first book, The Frankenstein Wheel (catalog #01544), by Paul W. Fairman, actually concerns the further exploits of Frankenstein's creation. The remaining eight books were unrelated stories using different horror themes. 1973: Frankenstein Unbound, by Brian Aldiss, combining the titles of Mary Shelley's novel with Percy Bysshe Shelley's Prometheus Unbound (1820), sends a time traveler from the 21st century back to Geneva in 1816, when Mary Wollstonecraft Godwin (as she was known then) was engaged in writing the original Frankenstein story. 1975: Robert J. Myers wrote a sequel to Shelley's novel called The Cross of Frankenstein (ISBN 0-397-01086-9), in which the illegitimate son of Victor Frankenstein finds the Creature alive and well and plotting the destruction of mankind in the wilds of America in 1816. Myers followed up the novel in 1976 with a second novel called The Slave of Frankenstein (ISBN 0-397-01126-1), where racism is added to the Creature's long list of sins as Frankenstein's illegitimate son again thwarts his plans to create a race of perfect slaves in the pre-Civil War America of 1859. A third novel in the series was announced, but never published. 1978: Allan Rune Pettersson wrote two novels in 1978 and 1989 Frankenstein's Aunt Frankenstein's Aunt Returns 1986: In The Frankenstein Papers, Fred Saberhagen retells Shelley's story (with significant modifications) from the Monster's point of view. It is revealed that the novel had actually taken place during the American Revolution and Benjamin Franklin and his son play a major role in the novel. It is revealed through a series of letters, as well as the Monster's journal, that the Monster is actually an amnesiac humanoid alien who was disfigured by the electric explosion used in Victor's experiments, and that the creature that Victor had stitched together never in fact came to life. It is also revealed that Victor had performed the experiments under the behest of the sinister British nobleman Roger Seville, who had wished to create a race of supermen so as to form a colony of slaves and to defeat the American rebels. It is also implied that Seville and his hunchbacked assistant Small had murdered Victor's family in order to blackmail him, and that the novel was actually written by Robert Walton (who wanted to profit from the slave business) as a means to spread distrust to the Monster. However, Benjamin rescues the alien and helps him regain his memory with the help of Cagliostro; the book ends with the alien departing Earth, and deciding that, despite the cruelty men like Seville are capable of, men like Benjamin Franklin are the true examples of the human race. 1986: In Stephen King's It, the monster "It" takes the form of Frankenstein's Monster. 1986: Margaret Tarner wrote an adaptation of the novel for elementary students as part of the Macmillan Readers series from Macmillan Publishers (ISBN 978-0435271060). An audiobook of this version was published in 1992 (ISBN 978-0435272876). 1994: Leonore Fleischer wrote a novelization of the Kenneth Branagh film. 1997: Frankenstein According to Spike Milligan is one of a series of parody novels by Spike Milligan. In this, Milligan crafts a bizarre story, with many gags based on specific moments and instances from the text of the novel, such as "I am self-educated: for the first fourteen years of my life I ran wild on the common. At the end of that time I fell exhausted to the ground." 2003: Jim Benton has written a series of children's chapter books about a female mad scientist that goes by the name Franny K. Stein 2004: Dean Koontz has written a series of Frankenstein novels titled Dean Koontz's Frankenstein. These stories are set in modern-day New Orleans, looking at Victor Frankenstein and his Monster (now known as Deucalion) having survived to the present day, with Deucalion recruiting a pair of New Orleans detectives to oppose the plans of Victor Helios (Frankenstein's modern alias) to destroy humanity and replace them with his 'New Race'. 2005: Joseph Covino Jr. wrote the first novel in a planned trilogy adapting and combining the characters and scenarios of the horror classics Frankenstein and Dracula, preserving the original stories of both perfectly intact without corrupting or distorting either: Frankenstein Resurrected. 2008: Peter Ackroyd's The Casebook of Victor Frankenstein is a postmodern retelling of the original story in which Victor Frankenstein encounters Percy Bysshe Shelley while studying in London. (ISBN 978-0-7011-8295-3) 2012: The Fear Index by Robert Harris uses artificial intelligence as a metaphor for Frankenstein's Monster. 2015: Mackenzi Lee's debut novel,This Monstrous Thing, is a young adult retelling of Frankenstein set in an alternate fantastical world. The novel's protagonist, Alastair Finch, uses clockwork technology to resurrect his (deceased) brother. Interestingly, Shelley's Frankenstein is published in Finch's world, so both men (human and Monster) hide as society tries to identify the "real" subjects in Shelley's tale. (ISBN 978-0062382788) 2016: The Patchwork Devil by Cavan Scott features Sherlock Holmes and Doctor Watson post-World War One investigating a severed hand that was found on a battlefield in fresh condition three years after the man in question (identified by the hand's fingerprints) was known to have died. Their investigations reveal that various parties in the government were attempting to recreate Victor Frankenstein's experiments, their efforts coordinated by a living descendant of the doctor. Holmes and Watson also meet the original monster, who seeks to die but has so far found no way of killing himself, although they express doubts about the truth of that tale or the veracity of the experiments. 2017: William A. Chanler's Son of Terror: Frankenstein Continued, a direct sequel to Frankenstein that begins in the Arctic shortly after Victor's death. (ISBN 978-1541343085) 2017: In Monstrumfuhrer by Edward M. Erdelac Joseph Mengele discovers Frankenstein's lab journal and is ordered to recreate his experiments in his laboratory in Auschwitz. A young Jewish boy escapes and heads north to find the original Creature in the hope that he can convince him to stop Mengele. 2017: The Strange Case of the Alchemist's Daughter by Theodora Goss depicts Adam as an antagonist to a group of "monstrous" women, each of whom "must contend with the monstrous bodies they've been given, in most cases against their will, by men acting on ideological impulse."[38] As well as Adam himself, the protagonists include Justinia Frankenstein, the "bride" Frankenstein created in the novel from the corpse of the family's dead servant, who was brought back to life without her original memories. Comics Main article: Frankenstein (comics) The Monster has also been the subject of many comic book adaptations, ranging from the ridiculous (a 1960s series portraying The Monster as a superhero; see below), to more straightforward interpretations of Shelley's work. Dick Briefer's Frankenstein (1940–1954) Main article: Frankenstein (Prize Comics) In 1940, cartoonist Dick Briefer wrote and drew a Frankenstein's-Monster comic book title for Crestwood Publications's Prize Comics, beginning with a standard horrific version, updated to contemporary America, but then in 1945 crafting an acclaimed and well-remembered comedic version that spun off into his own title, Frankenstein Comics. The series ended with issue #17 (Jan.-Feb. 1949, but was revived as a horror title from #18-33 (March 1952 - Oct.-Nov. 1954). The original Prize version served as catalyst for an intra-company crossover, where all characters starring in Prize Comics at the time teamed up to fight Frankenstein.[39][40] DC Comics Main article: Frankenstein (DC Comics) DC Comics' Movie Comics #1 (April 1939) featured an eight-page fumetti adaptation of the film Son of Frankenstein. The Monster appeared in Superman No. 143 (February 1961), in a story entitled "Bizarro Meets Frankenstein!" In 1973 the "Spawn of Frankenstein" appeared in the Phantom Stranger comic, written by Len Wein. The portrayal of the Monster was as a reclusive, sympathetic character who had been living alone in the Arctic since the death of his creator. A 1995 Batman special called Batman: Castle of the Bat by Jack C. Harris and Bo Hampton amalgamates Batman and Frankenstein. Bruce Wayne fills the role of Victor Frankenstein, wishing to revive his deceased father. Having successfully done so, his creation becomes the monstrous "Bat-Man", a hulking figure in a rough analogue of the Batman costume who preys upon highwaymen, similar to the one who took the lives of the (this story's) parents of Bruce Wayne. Batman's butler Alfred Pennyworth is changed to a hunchbacked dwarf named Alfredo, filling the "Igor" role. In The Superman Monster (1999), Lex Luthor is Viktor Luther, the creator. He discovers the spacecraft that would have carried the infant Superman to Earth. Inside, however, is only the skeleton of a child. Using the Kryptonian technology, he is able to animate his (unintentionally) super-powered creature, which initially resembles Bizarro. The creature flees and is raised by the kindly couple Johann and Marta Kant. They name the creature Klaus, after their dead son. The story features the Lois Lane character becoming "the Bride" to Superman's Creature. DC Comics and Roy Thomas revived the character "The Spawn of Frankenstein" in Young All-Stars; he then appeared in Grant Morrison's Seven Soldiers of Victory. Here, Frankenstein is a Milton-quoting, gun-toting warrior battling to prevent the end of the world. In addition, DC's team of movie monster-esque soldiers known as the Creature Commandos featured a character that resembled the Universal Pictures version of Frankenstein's Monster; Private Elliot "Lucky" Taylor was nearly killed after stepping on a land mine, but was grotesquely reconstructed into a "Patchwork Creature" (as designated by the Who's Who in the DC Universe entry on the Creature Commandos), and later rendered mute by a suicide attempt. Later, DC Comics debuted an unrelated superhero (and member of the Teen Titans) called "Young Frankenstein." In Warren Ellis and John Cassaday's Planetary, the protagonist, Elijah Snow, discovers an abandoned laboratory, filled with patchwork undead monsters. It is heavily implied that the lab belonged to Victor Frankenstein, and that, alongside Count Dracula, the Invisible Man, and Sherlock Holmes, Frankenstein had been part of a covert 19th century conspiracy to shape the direction of the future. In the comic book Major Bummer, Louie defends the common misnaming of the monster as "Frankenstein": Dr. Frankenstein is, so to speak, the monster's "father", and it is only right that a son should have his father's family name. This is also the argument taken by the Seven Soldiers incarnation. In September 2011, The New 52 rebooted DC's continuity. In this new timeline, the Seven Soldiers' version of the character is re-established in the ongoing series Frankenstein, Agent of S.H.A.D.E.. Marvel Comics Main article: Frankenstein's Monster (Marvel Comics) The monster appeared as a foe to Marvel Comics' X-Men in issue #40 of their eponymous series (January 1968). In the story, written by Roy Thomas, the monster had various powers, including incredible strength, optic beams, and magnetized feet. He was an ambassador sent to Earth by aliens in the 1850s, but upon arrival, he went berserk. His fellow aliens followed him to the North Pole, where he was frozen. In the present, he was discovered by scientists and thawed. According to Professor X, this android was the inspiration for Shelley's novel. The Monster of Frankenstein, the first five issues of which (Jan.-September 1973) contained a faithful (in spirit at least) retelling of Shelley's tale before transferring the Monster into the present day and pitting him against James Bond-inspired evil organizations. The artist, Mike Ploog, recalled, "I really enjoyed doing Frankenstein because I related to that naive monster wandering around a world he had no knowledge of — an outsider seeing everything through the eyes of a child."[41] In Invaders #31, the Invaders, searching for the Human Torch and Toro, disappear in Switzerland. The Invaders’ investigation brings them face to fist with Frankenstein. A wheelchair-bound Nazi scientist and Japanese doctor plan to transplant said Nazi scientist's brain into Captain America's body. The Invaders have to fight Frankenstein in the issue (Frankenstein is dressed as a Nazi officer) Other publishers Classic Comics #27 (December 1945), reprinted in Classics Illustrated #26, had versions of the Shelley novel. Dell Comics published a superhero version of the character in the comic book series Frankenstein #2-4 (September 1966 - March 1967; issue #1, published Oct. 1964, featured a very loose adaptation/update of the 1931 Universal Pictures movie). In 1972, French comics publisher Aredit devoted seven issues of its digest-sized Hallucinations horror comic magazine to adapt Jean-Claude Carrière's Frankenstein novels. In 1991, Dark Horse Comics issued an adaptation of the 1931 Universal film. The Monster is Monster in My Pocket #13. He appears among the good monsters in the comic book (1991), the video game (1991), the animated special (1992), and the 2003 animated series. In the comics, he was relatively inarticulate, represented by hyphens between each syllable he spoke, but possessed of simple wisdom and strong morals. This characterization was essentially characterized in the video game, where he was a playable character, and his only line of dialogue in the cut scenes was "Yeah..." In the animated special, he was known as "Big Ed" and was essentially a comic simpleton. Junji Ito serialized a manga adaptation of the novel, which was collected and published by Asahi Sonorama as the last tankōbon volume of The Junji Ito Horror Comic Collection in 1999. In 2001, Curtis Jobling released a picture book titled Frankenstein's Cat, which focused on Frankenstein's first creation; a cat named Nine (due to being made up of nine different cats). A television adaption aired in 2008 on CBBC. 2004 saw the debut of Doc Frankenstein, written by the Wachowskis, the writer-director team of The Matrix), and drawn by Steve Skroce. The book tells the continuing adventures of Frankenstein's monster, who has since adopted his creator's name and became a hero through the ages. In 2004, manga artist Atsushi Ōkubo produced the manga Soul Eater; in the fifth chapter, a character known as Franken Stein made his debut; much of his design was referenced from the novel Frankenstein, including his body being covered in dozens of self-inflicted stitches. Like his namesake, Franken Stein is both a skilled doctor and scientist, actually accomplishing in resurrecting another character into a zombie. But otherwise, the rest of Victor Frankenstein's character was mostly tossed aside (the character was obsessed with taking things apart, usually with scalpels, and he was also a skilled fighter, especially in hand-to-hand combat); the major difference between Franken Stein and Mary Shelley's Victor Frankenstein is the fact that Franken Stein has the classic personality of a psychopath or serial killer. In 2005, Dead Dog Comics produced a sequel to the Frankenstein mythos with Frankenstein: Monster Mayhem, written by R. D. Hall with art by Jerry Beck. In Dead Dog's version, the Monster sets out to create his own Necropolis. Also in 2005, Speakeasy Comics put out their sequel, The Living and the Dead, written by Todd Livingston and Robert Tinnell, with art by Micah Farritor. In it, Victor, now calling himself Hans, must create a new body for his first cousin who wants her syphilitic son to remain alive after a vicious beating, and she coerces him to do so under fear of exposing him for who he really is. Half-crazed due to the disease, the newly-born monster proceeds to start a Grand Guignol theater in Ingolstadt until Victor puts him down with the help of the first Monster he ever created. As thanks, Victor begins work on the last attempt he will make at playing God, and begins to build the original Creature a mate. In 2005, Puffin Books released a graphic novel adaptation adapted by Gary Reed with art from Frazer Irving. The 2006 Beckett Entertainment/Image comics graphic novel The Cobbler's Monster: A Tale of Gepetto's Frankenstein features an amalgamation between Gepetto and Victor Frankenstein, who reanimates his dead son. In 2006, Eros Comix published Adult Frankenstein, a comic book with Frankenstein X-rated stories (featuring also other classic monsters) all written by Enrico Teodorani (creator of Djustine), with cover by Joe Vigil and interior art by some of the best Italian authors in the erotic comics field. Also in 2006, Big Bang Comics published an issue of Big Bang Presents featuring a superhero incarnation of the Monster called Super Frankenstein. Manga artist Mitsukazu Mihara published a collection of six short stories entitled Beautiful People on October 20, 2001. The main story, also titled "Beautiful People", follows a woman who had plastic surgery done hoping to become beautiful and loved, but after she meets a young girl stitched together from corpses, she realizes that girl was the truly beautiful one because of the love that she gave. The 2007 manga series Embalming-The Another Tale of Frankenstein-, published by Shueisha, is based on the idea that Victor Frankenstein actually existed and created an artificial human from body parts of dead people and that 150 years after this event, numerous doctors across Europe are using what is left of his notes to try and create their own monsters. The series also features characters reading Frankenstein; or, The Modern Prometheus. In 2009 Papercutz published a Classics Illustrated Deluxe Graphic Novel adaptation of Frankenstein by French cartoonist Marion Mousse. His adaptation was originally published in French in three volumes, and was all collected and translated into English for the Papercutz version. Of all the comic book adaptations, this one is probably the most faithful to the original book. Toys and games This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message) Frankenstein's Monster appears in the Konami video game series Castlevania numerous times, with its name being "the Monster" or "the Creature", often as a major boss, but sometimes as a regular enemy. The Monster usually has the appearance of the Karloff/Universal version; however, the 2010 series reboot Castlevania: Lords of Shadow features a completely different-looking boss known as the "Mechanical Monstrosity", created some time prior to 1047 by "Friedrich von Frankenstein". Several other video game version are also available, including Bride of Frankenstein (Commodore 64 and ZX Spectrum), Frankenstein: Through the Eyes of the Monster - A Cinematic Adventure Starring Tim Curry (PC CD-ROM) and Mary Shelley's Frankenstein, (Super NES, Genesis, Sega CD) based on the 1994 film of the same name. Other games featuring the monster include Frankenstein: The Monster Returns for the original Nintendo Entertainment System and Frankenstein's Monster for the Atari 2600. In the 1995 Super NES game Donkey Kong Country 3: Dixie Kong's Double Trouble!, Kong's archenemy, King K. Rool, assumes the persona of Baron K. Roolenstein. A Frankenstein-like monster called Victor von Gerdenheim is a playable character in the fighting game series Darkstalkers, along with many other monsters from popular culture. Frankenstein's Monster also appears in the video game adaptation of the film Van Helsing. He only appears as a non-playable character. The role-playing game Promethean: The Created by White Wolf Publishing, focuses on beings created from human remains and animated by "the Divine Fire" who seek to attain humanity. One of the "Lineages" (groupings) of said creatures is that of the Frankensteins, who, like their namesake, are crafted from the best parts of multiple corpses and brought to life by lightning. The Monster himself, going by the name John Verney, appears in some of the book's fiction and illustrations. In 1989, the line of action figures for The Real Ghostbusters featured figures of several Universal Monsters, including Frankenstein's Monster. In 2002, LEGO released a Dr. Frankenstein and Monster set as part of the LEGO Studios toy line. In 2011, a new green-skinned Minifigure called Monster resembles the creature. The 2008 video game Fable II contains a quest in which a man named Victor is attempting to reanimate the body of a deceased woman, both homages to the book. Upon completion of the quest, if the player buys the house, it unlocks an area known as "the Shelley Tomb", a reference to the author of the novel. In the 2009 Wii game MadWorld, Frankenstein's Monster appears as a boss battle at the base of a dungeon, and is simply called "Frank" with bolts in his back, rather than in his neck as common stereotypes depict. He is also shown as being regenerative when connected to an electric chair, and his size well exceeds the usually large 7'0" to go as much as 20'0". In Atlus' popular Persona series, the residents of the "Velvet Room", a supernatural room that is "Between mind and matter", are named after characters from the Frankenstein series, namely Igor, Elizabeth, Margaret, Theodore, Marie, Lavenza, Caroline, and Justine. In 2019, Plaid Hat Games released Abomination: The Heir of Frankenstein, a board game sequel to Mary Shelley's Frankenstein; or, The Modern Prometheus, taking place 20 years after the events of the novel. In Abomination, the Creature lives and recruits scientists in Paris (the role of the players) to carry on the work of Victor Frankenstein, while Captain Walton seeks to stop the competition and fulfill his vow.[42] Also in 2019, Steel Wool Studios released Curse of Dreadbear, a Hallowe'en-themed downloadable content pack to their virtual reality game Five Nights at Freddy's: Help Wanted. The eponymous Dreadbear is a Frankenstein version of series mascot Freddy Fazbear, and was initially named "Franken Freddy" during Curse of Dreadbear's development. Dreadbear is included in merchandise and cameos in Five Nights at Freddy's: Security Breach on cardboard cutouts. Frankenstein's Monster appears in the horror fighting game Terrordrome 2: Reign of the Legends. This version of the Monster considers himself the legitimate son of Victor Frankenstein, explaining why the game calls him 'Frankenstein' instead of 'Frankenstein's Monster'. The Creature of Dr. Frankenstein appears as the main character in the 2019 video game 'The Wanderer: Frankenstein's Creature' (Nintendo Switch, PC, iOS/Android). The game was co-produced by La Belle Games and Arte and is a point-and-click narrative adventure which features a story based more closely on Mary Shelley's novel than a number of modern popular culture references to Frankenstein.[43] The popular Fashion-Doll line Monster High (the concept of the line being children of famous monsters attending a high school) has a character called "Frankie Stein", who is the daughter of Frankenstein's Monster and his Bride. Other usages In the 1920s, carbon monoxide was regarded as the Frankenstein of civilization in the context of humankind's industrial production of the gas and widespread problems with carbon monoxide poisoning leading to the notion of carbon monoxide as "the automaton that turns on its maker, pursues him to the ends of the earth and finally destroys him”.[44] Science fiction author Isaac Asimov coined the term Frankenstein complex for the fear of robots. Frankensteining is a term used by abusers of crystal methamphetamine to calm themselves by diassembling and reassembling objects. The term is used in that subculture and is recently gaining wider currency: it has been used in an episode of CSI: Miami and has four different definitions in Urban Dictionary, all with the same meaning of assembling parts from diverse sources.[citation needed] Frankenstein or Franken- is sometimes used as a prefix to imply artificial monstrosity as in "Frankenfood", a politically charged name, coined by the American academic Paul Lewis, for genetically manipulated foodstuffs. The Franken- prefix can also mean anything assembled haphazardly from originally disparate elements, especially if those parts were previously discarded by others—for example, a car built from parts salvaged from many other cars. For many years Eddie Van Halen played a guitar built in such a manner which he called the "Frankenstrat". In 1971, General Mills introduced "Franken Berry", a strawberry-flavored corn cereal whose mascot is a variation of the Monster from the 1931 movie. "Frankenstein" is the name of a character in the 1975 movie Death Race 2000 and its 2008 remake Death Race. The first incarnation was portrayed by veteran actor David Carradine and the second by Jason Statham. George A. Romero's 1985 film Day of the Dead features a scientist conducting experiments on zombies nicknamed "Frankenstein". The hit song China in Your Hand by the British rock band T'Pau employs the story of Frankenstein, and Mary Shelley's writing of it, in its role as a classic cautionary tale. In David Brin's science fiction novel Kiln People, defective golems that become autonomous are called "frankies". Mewtwo of the Pokémon franchise has been likened to Frankenstein's Monster in regards to being born through an artificial means and discontent with the fact.[45][46] Stitch, the main protagonist of Disney's Lilo & Stitch franchise, was somewhat influenced by the Monster, as he was created by a scientist from miscellaneous alien DNA. Unlike Shelley's Monster, however, his intentions were initially evil until he discovered an inner loneliness, causing him, and eventually his creator, to turn from crime to justice. Throughout the franchise, Stitch also demonstrates the Monster's Herculean strength and childlike curiosity. In season 3 of Beast Wars Megatron clones Dinobot, making a Frankenstein's Monster out of the clone by transmetallizing him with the Transmetal Driver and adding the half of Rampage's mutant spark he cut out earlier. The result was an extremely mutated Transmetal II minion under the influence of his "half-brother's" evil. In 2006, the book The 101 Most Influential People Who Never Lived listed Dr. Frankenstein's Monster (sic) at #6.[47][48] The California Medical Association, in a rather humorous gesture, chose Halloween 2006 to announce that Dr. Richard Frankenstein had been elected president of the organization.[49][50] He had previously been president of the Orange County Medical Association in 1995-1996.[51] Frankenstein is a character in the Korean web-comic manhwa Noblesse. He, like that of the actual character Frankenstein, is a scientist, but the similarities end there. Through his research he has gained immortality and immense power. He now serves the most powerful of all vampires, the Noblesse. Pop artist Eric Millikin created a large mosaic portrait of Frankenstein's Monster out of Halloween candy and spiders as part of his "Totally Sweet" series in 2013.[52] The character Professor Franken Stein from Soul Eater is a composite of Victor Frankenstein and the Monster, covered in stitches with a screw through his head as the result of self-experimentation. In Hellsing, Alexander Anderson is based on Frankenstein's Monster, given that his name came from a song that has a reference about Frankenstein's Monster, his abilities are similar and he is referred to as God's Monster after using the nail of Helena. Frankenstein's Monster appears as the Berserker class Servant of the Black Faction in the Fate/stay night spin-off Fate/Apocrypha. This depiction of the Monster is a young female homunculus in a wedding gown. The 2015 film Ex Machina is a film noir retelling of the Frankenstein story with a 21st-century femme fatale android. " (wikipedia.org)
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Product Images
Item Specifics
All returns accepted: ReturnsNotAccepted
Character: Frankenstein
Occasion: Halloween
Color: Beige
Material: Wood
Item Length: 8 in
Suitable For: Flameless/LED Candle
Brand: Authentique Spooky Night
Type: Candle Holder
Item Height: 12 in
Model: Frankenstein's Monster
Style: Shabby
Features: Smooth, Handle, Handmade
Country/Region of Manufacture: India
Room: Any Room, Bathroom, Bedroom, Den, Dining Room, Entryway, Foyer, Guestroom, Kitchen, Living Room, Lounge, Office, Patio, Porch, Study, Sunroom, Terrace
Finish: Smooth
Item Width: 8 in
Item Weight: 3.5 lb
Product Line: Wood Lanterns
