Browse content similar to Frankenstein and the Vampyre: A Dark and Stormy Night. Check below for episodes and series from the same categories and more!
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In the summer of 1816, | 0:00:11 | 0:00:13 | |
strange goings-on troubled puritan Switzerland. | 0:00:13 | 0:00:17 | |
The owner of a hotel on the banks of Lake Geneva | 0:00:18 | 0:00:21 | |
charged the curious to observe what was going on | 0:00:21 | 0:00:24 | |
in a grand house on the opposite shore. | 0:00:24 | 0:00:27 | |
The Villa Diodati. | 0:00:27 | 0:00:29 | |
There were scandalous rumours of free love, incest, | 0:00:34 | 0:00:38 | |
drunken revelry and drugs. | 0:00:38 | 0:00:40 | |
And some of them were true. | 0:00:40 | 0:00:43 | |
Many of the rumours involved the famously debauched poet | 0:00:45 | 0:00:49 | |
Lord Byron. | 0:00:49 | 0:00:50 | |
By that time, he was like a rock star. | 0:00:50 | 0:00:54 | |
But he was joined in notoriety by the brilliant young poet, | 0:00:54 | 0:00:57 | |
Percy Shelley, and his teenage lover Mary. | 0:00:57 | 0:01:02 | |
I think society underestimates 18-year-old girls. | 0:01:02 | 0:01:05 | |
It's a unique gathering of very brilliant minds | 0:01:07 | 0:01:10 | |
that almost you couldn't imagine coming together today. | 0:01:10 | 0:01:13 | |
Drawn into their orbit | 0:01:15 | 0:01:16 | |
were a starstruck young fan and an ambitious doctor. | 0:01:16 | 0:01:20 | |
And everyone at the villa had their secrets, | 0:01:20 | 0:01:24 | |
each their passions and desires. | 0:01:24 | 0:01:26 | |
A disastrous love affair. | 0:01:26 | 0:01:28 | |
Illegitimate children. | 0:01:28 | 0:01:30 | |
Fights, feuds and jealousies. | 0:01:30 | 0:01:34 | |
From this turmoil would emerge two vital works of literature. | 0:01:36 | 0:01:40 | |
When we think back to that summer of 1816, | 0:01:40 | 0:01:44 | |
and that particular night, | 0:01:44 | 0:01:47 | |
we're looking at what is probably | 0:01:47 | 0:01:50 | |
THE key romantic moment in all of literature. | 0:01:50 | 0:01:54 | |
I think it's fair to say there's never been another night like that | 0:01:55 | 0:02:01 | |
in terms of what it spawned. | 0:02:01 | 0:02:03 | |
From one tempestuous night at the villa would spring | 0:02:07 | 0:02:10 | |
two astonishing creations - | 0:02:10 | 0:02:12 | |
the vampire and Frankenstein. | 0:02:12 | 0:02:15 | |
Both born on a dark and stormy night. | 0:02:19 | 0:02:23 | |
The story behind the creation of Frankenstein and the vampire | 0:02:41 | 0:02:45 | |
begins with a scandal, | 0:02:45 | 0:02:47 | |
a scandal surrounding the poet Lord Byron. | 0:02:47 | 0:02:50 | |
Byron was 28 years old and renowned as an outrageous genius | 0:02:50 | 0:02:56 | |
with an ego to match. | 0:02:56 | 0:02:57 | |
A man of enormous sexual appetites. | 0:02:57 | 0:03:01 | |
At a time when poets were as famous as rock stars today, | 0:03:01 | 0:03:05 | |
he was notoriously mad, bad and dangerous to know. | 0:03:05 | 0:03:09 | |
His poems were received in much the same way | 0:03:11 | 0:03:17 | |
that, in the 1960s, a new album by the Beatles was. | 0:03:17 | 0:03:23 | |
There were queues down the streets | 0:03:23 | 0:03:26 | |
outside Byron's publishers. | 0:03:26 | 0:03:29 | |
He did say, "I woke up one day to find myself famous." | 0:03:29 | 0:03:33 | |
Blimey, you read his life and you realise, you know, | 0:03:34 | 0:03:37 | |
Russell Brand is nowhere near the kind of life Byron had, | 0:03:37 | 0:03:41 | |
you know what I mean? | 0:03:41 | 0:03:43 | |
It's like he was a comet through civilisation, in a sense. | 0:03:43 | 0:03:47 | |
Byron may have had his adoring fans, but his private life was a mess. | 0:03:48 | 0:03:54 | |
Stalked by bailiffs and fearing for his life, | 0:03:54 | 0:03:58 | |
in April 1816, he fled England for the Continent. | 0:03:58 | 0:04:02 | |
Difficult to imagine the equivalent now. | 0:04:03 | 0:04:05 | |
It's as if there was a kind of red-top campaign | 0:04:05 | 0:04:08 | |
with your photograph and name all over it. | 0:04:08 | 0:04:11 | |
That's the kind of equivalent that was happening to Byron. | 0:04:11 | 0:04:15 | |
One of the most shocking accusations was that Byron had had | 0:04:17 | 0:04:20 | |
an incestuous relationship with his half-sister Augusta | 0:04:20 | 0:04:24 | |
and fathered a child. | 0:04:24 | 0:04:26 | |
Later, in a letter to her, | 0:04:26 | 0:04:28 | |
he would share the pain of his humiliation and his failed marriage. | 0:04:28 | 0:04:32 | |
She, or rather the separation... | 0:04:34 | 0:04:36 | |
..has broken my heart. | 0:04:38 | 0:04:39 | |
I feel as if an elephant had trodden on it. | 0:04:42 | 0:04:44 | |
I'm convinced I shall never get over it. | 0:04:44 | 0:04:47 | |
But I try, but this last...wreck | 0:04:47 | 0:04:52 | |
has affected me very differently. | 0:04:52 | 0:04:54 | |
I breathe lead. | 0:04:56 | 0:04:58 | |
But the scandal was not the only reason behind Byron's departure. | 0:05:02 | 0:05:06 | |
He may possibly also | 0:05:07 | 0:05:09 | |
have been running away from an incredibly persistent young lady | 0:05:09 | 0:05:13 | |
called Claire Clairmont. | 0:05:13 | 0:05:15 | |
Claire Clairmont had been one of scores of women | 0:05:21 | 0:05:24 | |
to throw herself at Byron's feet. | 0:05:24 | 0:05:26 | |
Most he ignored. | 0:05:26 | 0:05:28 | |
But few were as headstrong as Claire. | 0:05:28 | 0:05:31 | |
She was determined to catch her man | 0:05:31 | 0:05:34 | |
and wrote to him repeatedly. | 0:05:34 | 0:05:36 | |
I do assure you, your future will shall be mine | 0:05:36 | 0:05:40 | |
and everything that you shall do or say | 0:05:40 | 0:05:43 | |
I shall not question. | 0:05:43 | 0:05:45 | |
Byron was left in no doubt of Claire's intentions. | 0:05:47 | 0:05:51 | |
If you stand in need of amusement, | 0:05:52 | 0:05:55 | |
and I afford it you, pray indulge your humour. | 0:05:55 | 0:06:01 | |
Claire Clairmont was kind of a Byron groupie. | 0:06:04 | 0:06:09 | |
And she had pretty much fan-lettered him | 0:06:09 | 0:06:13 | |
into sleeping with her | 0:06:13 | 0:06:14 | |
and then he had no interest really from there. | 0:06:14 | 0:06:17 | |
And she thinks she's going to be the love of Byron's life. | 0:06:19 | 0:06:23 | |
And she doesn't really see what kind of character Byron is. | 0:06:23 | 0:06:27 | |
Claire knew Byron was heading for Switzerland | 0:06:30 | 0:06:33 | |
and decided she would follow him. | 0:06:33 | 0:06:35 | |
I think Claire enjoyed being in his shadow. | 0:06:35 | 0:06:39 | |
People do escalate towards fame | 0:06:39 | 0:06:41 | |
and kind of get importance by association with famous people. | 0:06:41 | 0:06:46 | |
I mean, why else would she trek halfway across Europe, | 0:06:46 | 0:06:49 | |
well, right across Europe, to be with him? | 0:06:49 | 0:06:52 | |
And so the fuse was lit on an explosive venture | 0:06:56 | 0:06:59 | |
which would transform five extraordinary lives. | 0:06:59 | 0:07:02 | |
First, Claire was joined by a young couple | 0:07:02 | 0:07:06 | |
keen to escape England because of a trauma of their own - | 0:07:06 | 0:07:10 | |
her 18-year-old stepsister Mary... | 0:07:10 | 0:07:12 | |
..and Mary's lover, the 23-year-old poet Percy Bysshe Shelley. | 0:07:14 | 0:07:19 | |
Now, Percy and Mary were already leaving England to travel in Europe | 0:07:23 | 0:07:28 | |
due to Percy's ill-health at that time. | 0:07:28 | 0:07:32 | |
But Claire Clairmont is absolutely key | 0:07:32 | 0:07:35 | |
in persuading them to go to Geneva in particular, | 0:07:35 | 0:07:39 | |
so that she can actually pursue Byron. | 0:07:39 | 0:07:42 | |
The two lovers were also escaping a scandal. | 0:07:46 | 0:07:49 | |
Shelley had outraged society by advocating free love. | 0:07:49 | 0:07:53 | |
And he'd already fathered a child with Mary, | 0:07:55 | 0:07:58 | |
despite being a married man. | 0:07:58 | 0:08:00 | |
10 days after Byron, | 0:08:01 | 0:08:03 | |
they too fled the country in secret. | 0:08:03 | 0:08:06 | |
They had skedaddled while he was still legally married. | 0:08:07 | 0:08:12 | |
So this was a pretty daring thing for her to have done. In fact, they were | 0:08:12 | 0:08:17 | |
all doing daring things. They were challenging accepted norms. | 0:08:17 | 0:08:21 | |
Mary came from a famous family of radicals. | 0:08:21 | 0:08:25 | |
Her father, William Godwin, once shared Shelley's belief in free love. | 0:08:25 | 0:08:30 | |
But not now and not when it came to his daughter. | 0:08:30 | 0:08:34 | |
He accused the poet of corrupting her. | 0:08:34 | 0:08:38 | |
In my judgment, neither I, nor your daughter, nor her offspring | 0:08:39 | 0:08:46 | |
ought to receive the treatment we encounter on every side. | 0:08:46 | 0:08:49 | |
A young family, innocent and benevolent and united, | 0:08:50 | 0:08:55 | |
should not be confounded with prostitutes and seducers. | 0:08:55 | 0:08:59 | |
Shelley was in financial difficulties, | 0:09:01 | 0:09:04 | |
was not being received by the Godwin house, broken off from his own family. | 0:09:04 | 0:09:08 | |
And so travel looked like one of the ways of dealing with this. | 0:09:08 | 0:09:13 | |
I resolve to commit myself by decided step. | 0:09:14 | 0:09:17 | |
I therefore take Mary to Geneva. | 0:09:17 | 0:09:21 | |
I leave England... | 0:09:21 | 0:09:23 | |
I know not... perhaps for ever. | 0:09:23 | 0:09:27 | |
The three of them began the long journey to Switzerland, | 0:09:30 | 0:09:33 | |
a country that offered more than just an escape from personal troubles. | 0:09:33 | 0:09:37 | |
For over a decade, travel in Europe had been difficult and dangerous | 0:09:39 | 0:09:44 | |
because of the Napoleonic Wars. | 0:09:44 | 0:09:46 | |
The British victory at the Battle of Waterloo the year before | 0:09:46 | 0:09:50 | |
had changed all this. | 0:09:50 | 0:09:51 | |
Switzerland, from the point of view of Gothic interest, | 0:09:55 | 0:09:59 | |
was up there with Italy | 0:09:59 | 0:10:01 | |
as the kind of rugged, sublime, picturesque place to go and see. | 0:10:01 | 0:10:06 | |
After the Napoleonic wars, the poor English had to make do with | 0:10:07 | 0:10:11 | |
Devon and the Lake District which is why all the poetry of 1800 to 1815 | 0:10:11 | 0:10:17 | |
is chock-a-block with views of the Lake District because | 0:10:17 | 0:10:19 | |
they couldn't get anything better, | 0:10:19 | 0:10:21 | |
that's the only sublime thing they'd got. | 0:10:21 | 0:10:23 | |
But suddenly there's Switzerland, with Mont Blanc. | 0:10:25 | 0:10:28 | |
And so it's very much a part of what drew them there. | 0:10:30 | 0:10:34 | |
Travelling to Switzerland with Lord Byron was his personal physician, | 0:10:38 | 0:10:42 | |
Dr John Polidori, the fifth and final character | 0:10:42 | 0:10:45 | |
to play a decisive role in the remarkable events of the summer. | 0:10:45 | 0:10:49 | |
Polidori hoped it would be his big break into the literary world. | 0:10:51 | 0:10:55 | |
He had ambitions of his own to be a writer. | 0:10:56 | 0:10:59 | |
Polidori is a kind of wannabe. He dresses like Byron, he's his doctor, | 0:11:01 | 0:11:05 | |
he's a kind of groupie, in a sense. | 0:11:05 | 0:11:08 | |
He hangs on to the train, the menagerie, | 0:11:08 | 0:11:10 | |
he's a member of the bestiary of Byron | 0:11:10 | 0:11:12 | |
that travels around Europe, you know. | 0:11:12 | 0:11:15 | |
Polidori's job was to look after Byron, whose louche lifestyle | 0:11:15 | 0:11:20 | |
of sex, drugs and drinking meant that in the past | 0:11:20 | 0:11:23 | |
he'd suffered from gonorrhoea, haemorrhoids and liver problems. | 0:11:23 | 0:11:28 | |
Byron was also paranoid about putting on weight. | 0:11:29 | 0:11:32 | |
He'd been very fat as a child | 0:11:32 | 0:11:34 | |
and used medicinal purges to keep off the pounds. | 0:11:34 | 0:11:37 | |
But although he relied on the doctor, | 0:11:39 | 0:11:41 | |
Byron didn't take him seriously, nicknaming him Polly Dolly. | 0:11:41 | 0:11:46 | |
And so it was that the travellers arrived in Geneva in May 1816. | 0:11:54 | 0:11:59 | |
The ground was laid for an explosive coming together | 0:12:01 | 0:12:04 | |
of talent, ambition and desire. | 0:12:04 | 0:12:07 | |
A summer that would shape the rest of their lives. | 0:12:08 | 0:12:12 | |
Mary felt relief at her new surroundings, | 0:12:17 | 0:12:20 | |
sensing she was on the verge of a dramatic change in her life. | 0:12:20 | 0:12:24 | |
At what a different scene are we now arrived? | 0:12:25 | 0:12:28 | |
To the warm sunshine and to the humming of sun-loving insects. | 0:12:28 | 0:12:33 | |
From the windows of our hotel, we see the lovely lake, | 0:12:35 | 0:12:38 | |
blue as the heavens which it reflects | 0:12:38 | 0:12:41 | |
and sparkling with the golden beams. | 0:12:41 | 0:12:44 | |
I feel as happy as a new-fledged bird | 0:12:44 | 0:12:46 | |
and hardly care what twig I fly to | 0:12:46 | 0:12:50 | |
so that I may try my new-found wings. | 0:12:50 | 0:12:53 | |
But Mary's stepsister Claire's frustration had been growing. | 0:13:01 | 0:13:06 | |
She'd assumed she would be back in Byron's bed by now. | 0:13:06 | 0:13:09 | |
Instead, she'd had to wait 10 days for him just to arrive. | 0:13:10 | 0:13:14 | |
And when he did, despite staying in the same hotel, | 0:13:15 | 0:13:18 | |
he avoided her. | 0:13:18 | 0:13:20 | |
Claire wrote to him, he ignored her. | 0:13:20 | 0:13:23 | |
How can you be so very unkind? | 0:13:24 | 0:13:26 | |
I did not expect you to answer my note last evening | 0:13:26 | 0:13:30 | |
because I supposed you'd be so tired. | 0:13:30 | 0:13:32 | |
But this morning? | 0:13:32 | 0:13:34 | |
I'm sure you cannot say, as you used in London, | 0:13:34 | 0:13:37 | |
that you are overwhelmed with affairs | 0:13:37 | 0:13:39 | |
and had not an instant to yourself. | 0:13:39 | 0:13:41 | |
I have been in this weary hotel this fortnight. | 0:13:43 | 0:13:46 | |
It seems so unkind, so cruel of you | 0:13:47 | 0:13:51 | |
to treat me with such marked indifference. | 0:13:51 | 0:13:54 | |
Will you go straight up to the top of the house this evening at 7.30 | 0:13:56 | 0:14:01 | |
and I shall be on the landing place and show you the room. | 0:14:01 | 0:14:06 | |
Claire was not the only one with a secret plan. | 0:14:12 | 0:14:15 | |
Polidori had a hidden agenda. | 0:14:16 | 0:14:18 | |
He was keeping a secret journal of his time with Byron. | 0:14:20 | 0:14:24 | |
So, this sort of idea of secret narratives going on, | 0:14:25 | 0:14:29 | |
not merely Polidori's secret diary, | 0:14:29 | 0:14:31 | |
but Claire's secret plan as she thinks innocently to capture Byron. | 0:14:31 | 0:14:37 | |
So there are considerable psychological and sexual tensions | 0:14:37 | 0:14:41 | |
going on in that little group. | 0:14:41 | 0:14:43 | |
On the 29th of May, the five met for the first time. | 0:14:46 | 0:14:50 | |
Over the coming days, they began to socialise together. | 0:14:50 | 0:14:54 | |
Byron continued to shun Claire. | 0:14:56 | 0:14:58 | |
But the two poets delighted in each other's company. | 0:15:00 | 0:15:03 | |
Soon, Byron and Shelley started looking for houses by the lake | 0:15:04 | 0:15:07 | |
to rent for the summer. | 0:15:07 | 0:15:09 | |
In his diary, Polidori recorded his first impressions of Shelley. | 0:15:10 | 0:15:15 | |
May 30th. Got up late, | 0:15:16 | 0:15:18 | |
went to Mr and Mrs Shelley, breakfasted with them, | 0:15:18 | 0:15:22 | |
rode out to see a house together. | 0:15:22 | 0:15:24 | |
Shelley gone through much misery. | 0:15:24 | 0:15:28 | |
Paid Godwin's debts | 0:15:28 | 0:15:31 | |
and seduced his daughter. | 0:15:31 | 0:15:33 | |
Then wondered that he would not see him. | 0:15:33 | 0:15:36 | |
He is very clever. | 0:15:36 | 0:15:38 | |
The more I read his Queen Mab, the more beauties I find. | 0:15:39 | 0:15:42 | |
Byron had poured scorn on Polidori's literary ambitions. | 0:15:44 | 0:15:48 | |
Polidori tried to impress Shelley instead. | 0:15:48 | 0:15:51 | |
June 1st, up late, began my letters. | 0:15:51 | 0:15:55 | |
Went to Shelley's. | 0:15:55 | 0:15:57 | |
After dinner, jumping a wall, | 0:15:57 | 0:16:00 | |
my foot slipped and I strained my left ankle. | 0:16:00 | 0:16:03 | |
Shelley, etc, came in the evening. | 0:16:05 | 0:16:07 | |
Talked of my play, etc, which all agreed was worth nothing. | 0:16:07 | 0:16:13 | |
Shelley, Mary and Claire moved into a small house on the lake. | 0:16:17 | 0:16:21 | |
Soon after, Byron and Polidori moved into a grander property just above it. | 0:16:22 | 0:16:27 | |
The Villa Diodati. | 0:16:27 | 0:16:29 | |
"It was," wrote Byron, "the prettiest place in all the lake." | 0:16:31 | 0:16:36 | |
The villa in summer 1816, the Villa Diodati, it's still there. | 0:16:39 | 0:16:43 | |
It's a rather superior house with a wonderful balcony. | 0:16:43 | 0:16:47 | |
Just the kind of place Lord Byron would have chosen, very expensive. | 0:16:47 | 0:16:52 | |
The five soon developed a routine. | 0:16:56 | 0:16:59 | |
After evenings spent drinking together, | 0:16:59 | 0:17:02 | |
Byron would write into the early hours, | 0:17:02 | 0:17:04 | |
each night keeping a pistol by his bedside, | 0:17:04 | 0:17:07 | |
paranoid his enemies in England might be out to get him. | 0:17:07 | 0:17:11 | |
Shelley and Mary took morning walks by the lake, | 0:17:12 | 0:17:15 | |
at last free of the scandal that had surrounded them in London. | 0:17:15 | 0:17:19 | |
While Polidori had been relegated | 0:17:21 | 0:17:23 | |
to overseeing Byron's household accounts. | 0:17:23 | 0:17:26 | |
And still Claire plotted how to use her charms | 0:17:27 | 0:17:31 | |
to win back the man she loved. | 0:17:31 | 0:17:33 | |
He was more concerned with his appearance | 0:17:35 | 0:17:37 | |
than with another lovestruck teenage fan. | 0:17:37 | 0:17:40 | |
Worried that drunken binges might ruin his figure, | 0:17:41 | 0:17:44 | |
Byron even measured his wrists to check they weren't getting flabby. | 0:17:44 | 0:17:49 | |
But any hopes of an idyllic summer by the lake were rudely interrupted. | 0:18:00 | 0:18:05 | |
There's a kind of scandal | 0:18:05 | 0:18:07 | |
that the Shelleys' party and Lord Byron's party, | 0:18:07 | 0:18:10 | |
who is sleeping with who, that's one of the questions. | 0:18:10 | 0:18:12 | |
And a wonderful story is that people in the hotel | 0:18:12 | 0:18:15 | |
across the lake hired telescopes | 0:18:15 | 0:18:17 | |
so that they could spy on the balcony of the Diodati. | 0:18:17 | 0:18:20 | |
Even what the washing was being hung out, there was great speculation | 0:18:20 | 0:18:24 | |
as to who the nightwear belonged to. | 0:18:24 | 0:18:25 | |
They said that we have formed a pact | 0:18:25 | 0:18:28 | |
to outrage all that is regarded as most sacred in human society. | 0:18:28 | 0:18:33 | |
The English papers did not delay to spread this scandal | 0:18:33 | 0:18:37 | |
and the people believed it. | 0:18:37 | 0:18:39 | |
Hardly any affliction was spared us. | 0:18:39 | 0:18:42 | |
And things only got worse. | 0:18:48 | 0:18:49 | |
There was a sudden change in the weather. | 0:18:49 | 0:18:52 | |
No-one knew that this was the beginning of the summer of darkness. | 0:18:54 | 0:18:58 | |
A volcanic explosion in Indonesia had pumped tonnes of debris | 0:19:00 | 0:19:05 | |
into the atmosphere, blocking out the sun | 0:19:05 | 0:19:08 | |
and creating a volcanic winter. | 0:19:08 | 0:19:10 | |
Across Europe, crops failed | 0:19:15 | 0:19:17 | |
and there was flooding and thunderstorms. | 0:19:17 | 0:19:20 | |
They'd never seen anything like it. | 0:19:20 | 0:19:22 | |
The whole city of Geneva was completely flooded. | 0:19:22 | 0:19:25 | |
The lake was perpetually lit up by dramatic storms. | 0:19:25 | 0:19:30 | |
It was a completely new, | 0:19:31 | 0:19:33 | |
half terrifying and half thrilling experience | 0:19:33 | 0:19:39 | |
for a party of people who were highly literary, | 0:19:39 | 0:19:43 | |
highly excitable, looking for sensations | 0:19:43 | 0:19:46 | |
and you could say that God just gave them it, | 0:19:46 | 0:19:49 | |
"OK, you want it, I'll give it to you." | 0:19:49 | 0:19:52 | |
It was so dark that some days | 0:19:55 | 0:19:57 | |
they were forced to use candles in the afternoon. | 0:19:57 | 0:20:00 | |
An almost perpetual rain confines us principally to the house. | 0:20:00 | 0:20:05 | |
The thunderstorms that visit us are grander and more terrific | 0:20:05 | 0:20:09 | |
than I have ever seen before. | 0:20:09 | 0:20:11 | |
One night, we enjoyed a finer storm than I have ever beheld. | 0:20:11 | 0:20:16 | |
The lake was lit up, | 0:20:16 | 0:20:18 | |
the pines made visible | 0:20:18 | 0:20:20 | |
and all the scene illuminated for an instant. | 0:20:20 | 0:20:24 | |
When a pitchy blackness succeeded | 0:20:26 | 0:20:29 | |
and the thunder came in frightful bursts | 0:20:29 | 0:20:32 | |
over our heads amid the darkness. | 0:20:32 | 0:20:34 | |
To escape the storms, the five spent more time together | 0:20:37 | 0:20:41 | |
socialising at the villa. | 0:20:41 | 0:20:43 | |
A heady atmosphere quickly developed. | 0:20:44 | 0:20:47 | |
There's a sense of real synergy between all these different authors | 0:20:47 | 0:20:52 | |
at the time who are playing off each other, | 0:20:52 | 0:20:55 | |
reading different things together | 0:20:55 | 0:20:58 | |
and actually bouncing ideas off each other all the time. | 0:20:58 | 0:21:02 | |
It sounds like a really wonderful, creative period. | 0:21:02 | 0:21:06 | |
They are perched on the edge of their destinies in a curious way. | 0:21:06 | 0:21:11 | |
But on this beautiful lake. | 0:21:11 | 0:21:14 | |
So it's an immense literary... | 0:21:15 | 0:21:17 | |
like an unexploded bomb, in a way, when they're all there. | 0:21:17 | 0:21:21 | |
# At the mid hour of night | 0:21:25 | 0:21:27 | |
# When stars are weeping, I fly | 0:21:27 | 0:21:31 | |
# To the lone vale... # | 0:21:31 | 0:21:33 | |
I think, at that age, you start to think about the world - | 0:21:33 | 0:21:38 | |
where you come from, you know, | 0:21:38 | 0:21:39 | |
all the things that are part of creation and life. | 0:21:39 | 0:21:42 | |
You can imagine it was a bit like an Oxford University dorm room | 0:21:42 | 0:21:47 | |
with people getting stoned | 0:21:47 | 0:21:48 | |
and talking about life, the universe and everything. | 0:21:48 | 0:21:51 | |
And beneath the surface, sexual tensions had been simmering. | 0:21:53 | 0:21:57 | |
Finally, Byron had given in to Claire's advances. | 0:22:03 | 0:22:06 | |
She'd found a way back into his bed. | 0:22:06 | 0:22:09 | |
You know, and I believe saw once, that odd-headed girl | 0:22:12 | 0:22:15 | |
who introduced herself to me shortly before I left England. | 0:22:15 | 0:22:19 | |
But you do not know that I found her with Shelley and her sister at Geneva. | 0:22:19 | 0:22:23 | |
I never loved, nor pretended to love, her, but a man is a man. | 0:22:25 | 0:22:29 | |
And if a girl of 18 comes prancing to you at all hours, | 0:22:29 | 0:22:34 | |
there is but one way. | 0:22:34 | 0:22:36 | |
Byron used Claire in the bedroom, | 0:22:38 | 0:22:40 | |
but neglected her in public. | 0:22:40 | 0:22:43 | |
I think she was already miserably aware | 0:22:44 | 0:22:47 | |
that she was just a bit of froufrou. She was one of many. | 0:22:47 | 0:22:51 | |
Goodness knows, nobody's ever tried to count how many women Byron went to bed with. | 0:22:51 | 0:22:56 | |
Claire was just another. | 0:22:56 | 0:22:57 | |
Shelley tried to comfort Claire, but this only made Mary suspicious. | 0:23:00 | 0:23:05 | |
If Shelley believed in defying convention, | 0:23:05 | 0:23:09 | |
what was to stop them becoming lovers? | 0:23:09 | 0:23:12 | |
There's this weird thing about Mary I've always been intrigued with. | 0:23:12 | 0:23:16 | |
How did they think of things in those days, | 0:23:16 | 0:23:18 | |
especially under the shadow of what they were kind of branding as | 0:23:18 | 0:23:21 | |
free love, which seemed a kind of licence for betraying each other, | 0:23:21 | 0:23:26 | |
you know, do what you like. | 0:23:26 | 0:23:28 | |
Shelley's views on sex are very open. | 0:23:28 | 0:23:32 | |
You know, it seems to work more for him than it does for Mary, I think. | 0:23:32 | 0:23:37 | |
According to Polidori's diary, Shelley had even admitted | 0:23:40 | 0:23:43 | |
encouraging Mary to sleep with one of his friends. | 0:23:43 | 0:23:46 | |
He married, and a friend of his, | 0:23:46 | 0:23:49 | |
liking his wife, he tried all he could | 0:23:49 | 0:23:52 | |
to induce her to love him in turn. | 0:23:52 | 0:23:55 | |
Sexual intrigue rippled through the group. | 0:23:56 | 0:23:58 | |
It's a bit like a mad kind of playground, you know, | 0:24:00 | 0:24:03 | |
"You're not my best friend, you're my best friend." | 0:24:03 | 0:24:05 | |
Or "Is she going out with him, or is he going out with her?" | 0:24:05 | 0:24:09 | |
Or "I don't like you any more, I like him now." | 0:24:09 | 0:24:11 | |
Some say Polidori had a crush on Mary, | 0:24:12 | 0:24:15 | |
who in turn had eyes for Byron. | 0:24:15 | 0:24:18 | |
We know that Mary captivated Byron | 0:24:20 | 0:24:24 | |
and that Mary in her own journal | 0:24:24 | 0:24:26 | |
would always refer to Lord Byron in terms of tenderness, wonder, | 0:24:26 | 0:24:33 | |
admiration, affection and even love. | 0:24:33 | 0:24:36 | |
She was very, very attached to him. | 0:24:36 | 0:24:41 | |
And I think that the influence of Byron on Mary, | 0:24:41 | 0:24:47 | |
during that summer at Lake Geneva, was tremendous. | 0:24:47 | 0:24:51 | |
On the fateful evening of 16 June, | 0:24:56 | 0:24:59 | |
the five gathered at the villa. They would not leave until morning. | 0:24:59 | 0:25:04 | |
As a storm raged outside, Byron would act as ringmaster | 0:25:04 | 0:25:08 | |
to his captive audience. | 0:25:08 | 0:25:11 | |
I think maybe it's time for a ghost story. | 0:25:11 | 0:25:13 | |
First, he spooked them with a reading from a French translation | 0:25:15 | 0:25:19 | |
of Fantasmagoriana, a remarkable book full of blood-chilling tales | 0:25:19 | 0:25:23 | |
of spirits, dagger-wielding ghosts and wandering death brides. | 0:25:23 | 0:25:28 | |
The Spectre Barber. | 0:25:29 | 0:25:30 | |
Ssh! | 0:25:30 | 0:25:31 | |
HE READS IN FRENCH | 0:25:34 | 0:25:37 | |
You had thunder and you had lightning | 0:25:42 | 0:25:45 | |
and you had people sitting around listening to ghost stories. | 0:25:45 | 0:25:49 | |
HE CONTINUES READING | 0:25:49 | 0:25:52 | |
Feeling people getting quieter and quieter as you tell your story, | 0:25:52 | 0:25:58 | |
there's a kind of peculiar electricity, there's a way | 0:25:58 | 0:26:02 | |
that suddenly everything is a little more alive. | 0:26:02 | 0:26:06 | |
Your fight or flight responses start to activate, | 0:26:06 | 0:26:12 | |
whether you want them to or not. The adrenaline is just starting to pump. | 0:26:12 | 0:26:18 | |
You're actually scared, you can smell fear, | 0:26:18 | 0:26:22 | |
somebody got a little bit scared | 0:26:22 | 0:26:24 | |
and fear pheromones are going off and you're near them | 0:26:24 | 0:26:27 | |
and unconsciously those little fear pheromones | 0:26:27 | 0:26:30 | |
ring little bells in you too. | 0:26:30 | 0:26:32 | |
And now you have a group of people | 0:26:32 | 0:26:35 | |
who are a little more alert, a little weirded out | 0:26:35 | 0:26:38 | |
and just a little bit scared, and having the time of their lives. | 0:26:38 | 0:26:42 | |
And then a challenge gets thrown down of - can we do better? | 0:26:49 | 0:26:53 | |
I have a challenge. | 0:26:53 | 0:26:54 | |
We will each write... | 0:26:56 | 0:26:58 | |
..a ghost story. | 0:27:00 | 0:27:02 | |
It is itself like some amazing experiment. | 0:27:09 | 0:27:12 | |
You put these various different chemicals - | 0:27:12 | 0:27:15 | |
the Byron chemical, | 0:27:15 | 0:27:17 | |
the Mary Shelley chemical, the Percy Shelley chemical. | 0:27:17 | 0:27:21 | |
And even Polidori. | 0:27:23 | 0:27:25 | |
You put them together and heat | 0:27:27 | 0:27:30 | |
and this amazing group of literary works arises out of it. | 0:27:30 | 0:27:36 | |
Byron was the first to attempt the challenge, | 0:27:50 | 0:27:53 | |
dashing off the beginnings of an intriguing story. | 0:27:53 | 0:27:56 | |
He smiled in a ghastly manner and said faintly, | 0:27:59 | 0:28:03 | |
"It is not yet time." | 0:28:03 | 0:28:05 | |
It tells of an Englishman on an exotic adventure | 0:28:05 | 0:28:09 | |
who befriends a mysterious wealthy gentleman called Augustus Darvell. | 0:28:09 | 0:28:14 | |
I felt Darvell's weight, as it were, increase upon my shoulder. | 0:28:14 | 0:28:18 | |
And turning to look upon his face, perceived that he was dead. | 0:28:19 | 0:28:24 | |
I was shocked, with a certain certainty that could not be mistaken. | 0:28:24 | 0:28:29 | |
His countenance in a few minutes became almost black. | 0:28:29 | 0:28:32 | |
I should have attributed so rapid a change to poison | 0:28:33 | 0:28:36 | |
had I not been aware that he had no opportunity of receiving it unperceived. | 0:28:36 | 0:28:41 | |
The day was declining, the body rapidly altering. | 0:28:42 | 0:28:46 | |
And nothing remained but to fulfil his request. | 0:28:48 | 0:28:51 | |
Byron had thrown down the gauntlet to the others. | 0:28:54 | 0:28:57 | |
Nothing survives of Shelley's story, | 0:28:57 | 0:29:00 | |
but both Polidori and Mary were aspiring writers | 0:29:00 | 0:29:04 | |
and desperate to impress the famous poet. | 0:29:04 | 0:29:07 | |
And Mary felt another pressure. She wanted to prove she was worthy | 0:29:09 | 0:29:12 | |
of her high achieving parents - | 0:29:12 | 0:29:14 | |
the pioneering feminist writer Mary Wollstonecraft | 0:29:14 | 0:29:19 | |
and radical thinker William Godwin. | 0:29:19 | 0:29:20 | |
I was nursed and fed with the love of glory. | 0:29:21 | 0:29:25 | |
To be something great and good was the precept given to me by my father. | 0:29:25 | 0:29:31 | |
And both Percy and Mary were very conscious | 0:29:32 | 0:29:36 | |
of this kind of literary inheritance. | 0:29:36 | 0:29:38 | |
And we know, Mary says, that Percy Shelley was always saying, | 0:29:38 | 0:29:42 | |
"You must write, you must fulfil your inheritance." | 0:29:42 | 0:29:45 | |
She's been raised to be a very independent woman. | 0:29:47 | 0:29:50 | |
She's been raised to be a freethinker, to do her own thing, | 0:29:50 | 0:29:53 | |
and I think she would have been appalled at herself | 0:29:53 | 0:29:56 | |
if she couldn't come up with something. | 0:29:56 | 0:29:58 | |
Mary would soon channel these demons into her work. | 0:30:00 | 0:30:04 | |
But now, unrobe yourself, | 0:30:14 | 0:30:17 | |
for I must pray 'ere yet in bed I lie. | 0:30:17 | 0:30:22 | |
But first, as the hours drew on, | 0:30:22 | 0:30:25 | |
Byron continue to dominate proceedings, | 0:30:25 | 0:30:27 | |
choosing another haunting work to provoke the others into action. | 0:30:27 | 0:30:32 | |
A poem by Samuel Taylor Coleridge, Christabel. | 0:30:32 | 0:30:36 | |
Her gentle limbs did she undress | 0:30:36 | 0:30:38 | |
And lay down in her loveliness... | 0:30:38 | 0:30:42 | |
Byron starts to read, | 0:30:42 | 0:30:45 | |
probably quite deliberately, one of the most terrifying passages | 0:30:45 | 0:30:49 | |
in Christabel. | 0:30:49 | 0:30:50 | |
So, halfway from the bed she rose... | 0:30:50 | 0:30:53 | |
Which is when the seemingly innocent figure | 0:30:53 | 0:30:57 | |
is turned into a kind of witch, | 0:30:57 | 0:31:00 | |
a horrible creature, where her body is described as half deformed. | 0:31:00 | 0:31:05 | |
Beneath the lamp the lady bowed | 0:31:05 | 0:31:08 | |
And slowly rolled her eyes around | 0:31:08 | 0:31:10 | |
Then drawing her breath aloud | 0:31:10 | 0:31:12 | |
Like one that shuddered, she unbound | 0:31:12 | 0:31:14 | |
The cincture from beneath her breast... | 0:31:14 | 0:31:16 | |
And there's this extraordinary scene in the poem | 0:31:16 | 0:31:18 | |
where she takes her clothes off gradually | 0:31:18 | 0:31:21 | |
and it's revealed that in fact she's a kind of monster woman. | 0:31:21 | 0:31:24 | |
Her silken robe, and inner vest | 0:31:24 | 0:31:26 | |
Dropped to her feet... | 0:31:26 | 0:31:28 | |
So they were all very on edge, creeped out. | 0:31:28 | 0:31:32 | |
Then drawing in her breath aloud Like one... | 0:31:32 | 0:31:35 | |
And the description is that her breast and half her side | 0:31:38 | 0:31:42 | |
is all sort of tortured and damaged and twisted. | 0:31:42 | 0:31:46 | |
Behold! Her bosom and half her side A sight to dream on, not to tell | 0:31:46 | 0:31:51 | |
And she is to sleep with Christabel. | 0:31:51 | 0:31:53 | |
In his diary, Polidori recorded Shelley's explanation | 0:32:00 | 0:32:04 | |
for running from the room. | 0:32:04 | 0:32:06 | |
12 o'clock, really began to talk ghostly. | 0:32:07 | 0:32:11 | |
Lord Byron repeated some verses of Coleridge's Christabel, | 0:32:11 | 0:32:16 | |
of the witches breast, when silence ensued | 0:32:16 | 0:32:18 | |
and Shelley, suddenly shrieking and putting his hands to his head, | 0:32:18 | 0:32:23 | |
ran out of the room with a candle. | 0:32:23 | 0:32:25 | |
Threw water in his face and after gave him ether. | 0:32:25 | 0:32:28 | |
He was looking at Mrs Shelley | 0:32:28 | 0:32:30 | |
and suddenly thought of a woman he'd heard of | 0:32:30 | 0:32:32 | |
who had eyes instead of nipples | 0:32:32 | 0:32:35 | |
which, taking hold of his mind, horrified him. | 0:32:35 | 0:32:39 | |
I think we can assume that Dr Polidori had been pretty liberal | 0:32:39 | 0:32:45 | |
with the ether that he had in his little doctor's medicine bag | 0:32:45 | 0:32:49 | |
because they were all clearly pretty high a lot of the time | 0:32:49 | 0:32:52 | |
and this was part of the whole thing of let's get the maximum sensation, | 0:32:52 | 0:32:56 | |
let's get really scared. | 0:32:56 | 0:32:58 | |
Lightning might do it, but the ether might help, and Christabel too. | 0:32:58 | 0:33:02 | |
It's not just ordinary ghost stories, it's something quite surreal, | 0:33:04 | 0:33:07 | |
quite strange, obviously partly sexual thing going on. | 0:33:07 | 0:33:10 | |
Byron had sown the seeds | 0:33:18 | 0:33:20 | |
which would make the Villa Diodati go down in literary history. | 0:33:20 | 0:33:25 | |
Over the following nights and days, | 0:33:25 | 0:33:28 | |
Mary and Polidori continued their attempts to write. | 0:33:28 | 0:33:31 | |
According to Mary, Polidori produced a tale | 0:33:33 | 0:33:36 | |
of a woman with a skull for a head. | 0:33:36 | 0:33:38 | |
Like his plays, it impressed no-one and was soon abandoned. | 0:33:39 | 0:33:44 | |
Mary was desperate to do better. | 0:33:47 | 0:33:49 | |
I busied myself to think of a story, one which would rival those | 0:33:52 | 0:33:57 | |
that had excited us to this task, | 0:33:57 | 0:34:00 | |
one which would speak to the mysterious fears of our nature | 0:34:00 | 0:34:04 | |
and awaken thrilling horror. | 0:34:04 | 0:34:07 | |
One to make the reader dread to look round, | 0:34:07 | 0:34:09 | |
to curdle the blood and quicken the beatings of the heart. | 0:34:09 | 0:34:13 | |
If I did not accomplish these things, | 0:34:13 | 0:34:17 | |
my ghost story would be unworthy of its name. | 0:34:17 | 0:34:21 | |
"Have you thought of a story?" I was asked each morning. | 0:34:21 | 0:34:24 | |
And, each morning, I was forced to reply with a mortifying negative. | 0:34:24 | 0:34:28 | |
Mary thought and thought and thought | 0:34:28 | 0:34:32 | |
and she could not come up with an idea. | 0:34:32 | 0:34:35 | |
And it was really mortifying to Mary because she always | 0:34:35 | 0:34:40 | |
prided herself tremendously on her imagination | 0:34:40 | 0:34:44 | |
and I'm quite sure that she was longing | 0:34:44 | 0:34:47 | |
to win the admiration of Lord Byron with a wonderful story. | 0:34:47 | 0:34:51 | |
I actually think Mary Shelley was the most competitive of them | 0:34:54 | 0:34:58 | |
in that I think she thought she had something to prove a little bit. | 0:34:58 | 0:35:01 | |
And clearly didn't want to be the one that couldn't do it. | 0:35:01 | 0:35:05 | |
When I placed my head on my pillow, I did not sleep. | 0:35:21 | 0:35:27 | |
Nor could I be said to think. | 0:35:27 | 0:35:28 | |
My imagination, unbidden, possessed and guided me, | 0:35:31 | 0:35:36 | |
gifting the successive images that arose in my mind | 0:35:36 | 0:35:40 | |
with a vividness far beyond the usual bounds of reverie. | 0:35:40 | 0:35:44 | |
I saw with shut eyes, | 0:35:46 | 0:35:49 | |
but acute mental vision. | 0:35:49 | 0:35:52 | |
I saw the pale student of unhallowed arts, | 0:35:52 | 0:35:55 | |
kneeling beside the thing he had put together. | 0:35:55 | 0:35:59 | |
SHE GASPS | 0:35:59 | 0:36:03 | |
I saw the hideous phantasm of a man stretched out, | 0:36:03 | 0:36:08 | |
and then, on the workings of some powerful engine, | 0:36:08 | 0:36:13 | |
show signs of life | 0:36:13 | 0:36:14 | |
and stir with a half-vital motion. | 0:36:14 | 0:36:18 | |
Mary had found her inspiration, in part from conversations | 0:36:21 | 0:36:27 | |
at the villa about the latest scientific developments. | 0:36:27 | 0:36:30 | |
Things were in the air, | 0:36:31 | 0:36:33 | |
particularly galvanic experiments | 0:36:33 | 0:36:36 | |
in which you could electrify a corpse | 0:36:36 | 0:36:39 | |
and make it look as if it had momentarily come back to life. | 0:36:39 | 0:36:43 | |
So, I think that it was within the realm of possibility | 0:36:45 | 0:36:50 | |
that you might be able to create a being. | 0:36:50 | 0:36:54 | |
Inspiration may also have come from Mary's personal grief. | 0:36:57 | 0:37:01 | |
She had already lost one child. | 0:37:01 | 0:37:03 | |
When you combine it with what was internal to her, her life | 0:37:04 | 0:37:07 | |
of losing children, the thought, what if we could control death? | 0:37:07 | 0:37:12 | |
What if this scientific stuff could help us be in control, | 0:37:12 | 0:37:16 | |
bring our dead children back? | 0:37:16 | 0:37:18 | |
A journal entry from when she lost her child two years earlier | 0:37:20 | 0:37:24 | |
shows just how much this idea haunted her. | 0:37:24 | 0:37:26 | |
Dream that my little baby came to life again, | 0:37:28 | 0:37:32 | |
that it had only been cold | 0:37:32 | 0:37:35 | |
and that we rubbed it by the fire and it lived. | 0:37:35 | 0:37:39 | |
I awake and find no baby. | 0:37:39 | 0:37:42 | |
I think about the little thing all day. | 0:37:43 | 0:37:45 | |
No doubt, the idea of being able to re-vivify something that was | 0:37:49 | 0:37:52 | |
not alive was something remarkably fascinating to her. | 0:37:52 | 0:37:56 | |
The idea so possessed my mind that a thrill of fear ran through me, | 0:37:59 | 0:38:05 | |
and I wished to exchange the ghastly image of my fancy | 0:38:05 | 0:38:09 | |
for the realities around. | 0:38:09 | 0:38:10 | |
Oh, if I could only contrive one which would | 0:38:11 | 0:38:14 | |
frighten my reader as I myself had been frightened that night. | 0:38:14 | 0:38:18 | |
Swift as light, and as cheering, was the idea that broke in upon me. | 0:38:22 | 0:38:27 | |
SHE MOANS | 0:38:27 | 0:38:29 | |
I have found it. | 0:38:29 | 0:38:31 | |
What terrified me will terrify others. | 0:38:31 | 0:38:34 | |
And I need only describe the spectre | 0:38:34 | 0:38:37 | |
which had haunted my midnight pillow. | 0:38:37 | 0:38:39 | |
Mary would begin writing Frankenstein, | 0:38:42 | 0:38:45 | |
the story of the tortured genius, Dr Frankenstein, | 0:38:45 | 0:38:48 | |
who creates a living creature from dead body parts. | 0:38:48 | 0:38:52 | |
"It was on a dreary night of November | 0:38:54 | 0:38:56 | |
"that I beheld the accomplishment of my toils. | 0:38:56 | 0:38:59 | |
"With an anxiety that almost amounted to agony, | 0:39:00 | 0:39:03 | |
"I collected the instruments of life around me, that I might infuse | 0:39:03 | 0:39:08 | |
"a spark of being to the lifeless thing that lay at my feet. | 0:39:08 | 0:39:13 | |
"It was already one in the morning. | 0:39:15 | 0:39:18 | |
"The rain pattered dismally against the panes | 0:39:18 | 0:39:21 | |
"and my candle was nearly burnt out, | 0:39:21 | 0:39:24 | |
"when, by the glimmer of the half-extinguished light, | 0:39:24 | 0:39:29 | |
"I saw the dull, yellow eye of the creature open. | 0:39:29 | 0:39:35 | |
"It breathed hard and a convulsive motion agitated its limbs." | 0:39:35 | 0:39:40 | |
LOW MOANING | 0:39:41 | 0:39:44 | |
Frankenstein is written in homage to what seemed to be the looming | 0:39:44 | 0:39:48 | |
possibility that, actually, maybe you would someday bring somebody | 0:39:48 | 0:39:52 | |
back to life, and that might really lead to a nightmarish end. | 0:39:52 | 0:39:56 | |
In Mary's story, Dr Frankenstein is disgusted by the creature | 0:39:59 | 0:40:04 | |
he creates and rejects it. | 0:40:04 | 0:40:06 | |
Banished, the monster seeks revenge. | 0:40:06 | 0:40:09 | |
He has a reason for behaving and feeling the way he does, | 0:40:12 | 0:40:16 | |
and all he really wants is to be understood. | 0:40:16 | 0:40:19 | |
The creator doesn't come out of it very well. | 0:40:21 | 0:40:23 | |
The creature itself says, | 0:40:26 | 0:40:27 | |
"I am not a monster, I have feelings, just like you." | 0:40:27 | 0:40:33 | |
And that is the theme that continues throughout - what is it to be human? | 0:40:33 | 0:40:38 | |
But just as Mary had begun to develop her story, | 0:40:46 | 0:40:50 | |
events at the villa took another turn. | 0:40:50 | 0:40:53 | |
Claire, the catalyst who had brought the five of them together, | 0:40:53 | 0:40:57 | |
revealed a secret that would ultimately drive them apart. | 0:40:57 | 0:41:00 | |
She was pregnant with Byron's child. | 0:41:02 | 0:41:05 | |
Whether this impregnation took place | 0:41:06 | 0:41:08 | |
before I left England or since, I do not know. | 0:41:08 | 0:41:13 | |
The carnal connection had commenced previously to my setting out. | 0:41:13 | 0:41:17 | |
Next question - is the brat mine? | 0:41:17 | 0:41:19 | |
I have reason to think so, for I know, | 0:41:20 | 0:41:22 | |
as much as one can know such thing, that she had not lived with Shelley | 0:41:22 | 0:41:26 | |
for during the time of our acquaintance, | 0:41:26 | 0:41:29 | |
and that she had had a good deal of that same with me. | 0:41:29 | 0:41:33 | |
This comes of putting it about. | 0:41:33 | 0:41:35 | |
And be damned to it, and thus, people come into the world. | 0:41:36 | 0:41:39 | |
Soon, Claire would return home with Mary and Shelley | 0:41:41 | 0:41:44 | |
to have her child in secret. | 0:41:44 | 0:41:47 | |
The clock was ticking on their time at the villa. | 0:41:47 | 0:41:51 | |
But this would be a pivotal moment in all their lives. | 0:41:51 | 0:41:55 | |
This much alone is certain. | 0:41:56 | 0:42:00 | |
That before we return, we shall have seen and felt | 0:42:00 | 0:42:05 | |
and heard a multiplicity of things which will haunt our talk | 0:42:05 | 0:42:11 | |
and make us a little better worth knowing | 0:42:11 | 0:42:14 | |
than we were before our departure. | 0:42:14 | 0:42:16 | |
At the end of August, after almost three months in Geneva, | 0:42:18 | 0:42:22 | |
Shelley and the sisters left for England. | 0:42:22 | 0:42:25 | |
Claire knew she had lost Byron, but kept writing him pleading letters. | 0:42:25 | 0:42:30 | |
But for Byron, the relationship with the woman | 0:42:30 | 0:42:33 | |
he would later call "a damned bitch" was over. | 0:42:33 | 0:42:37 | |
He wouldn't even see her when she left. | 0:42:37 | 0:42:39 | |
That's how Byron felt about Claire. | 0:42:39 | 0:42:41 | |
When you receive this, I shall be many miles away. | 0:42:44 | 0:42:47 | |
Indeed, I should have been happier to have seen | 0:42:47 | 0:42:50 | |
and kissed you once before I went. | 0:42:50 | 0:42:52 | |
There is nothing in the world I love or care about but yourself. | 0:42:54 | 0:42:58 | |
My dreadful fear is, lest you quite forget me... | 0:42:59 | 0:43:02 | |
..I shall love you until the end of my life, and nobody else. | 0:43:04 | 0:43:07 | |
Mary returned to England with a precious cargo - | 0:43:11 | 0:43:14 | |
a rough draft of Frankenstein, | 0:43:14 | 0:43:16 | |
which she would expand and develop over the coming year. | 0:43:16 | 0:43:20 | |
But there was to be one more surprise. | 0:43:22 | 0:43:25 | |
One more astonishing piece of work to emerge from within | 0:43:25 | 0:43:28 | |
the walls of the Villa Diodati. | 0:43:28 | 0:43:30 | |
Polidori had continued trying to rise to Byron's challenge | 0:43:32 | 0:43:35 | |
to create a terrifying tale of the supernatural. | 0:43:35 | 0:43:40 | |
He may only have been 20, but he was no stranger to horror. | 0:43:40 | 0:43:44 | |
John Polidori had been a medical student in Edinburgh, | 0:43:45 | 0:43:49 | |
and I speak as an ex-Edinburgh student myself, | 0:43:49 | 0:43:52 | |
a very Gothic place to live, I can assure you, | 0:43:52 | 0:43:55 | |
particularly in those days. | 0:43:55 | 0:43:57 | |
And it's worth remembering how horrendous | 0:43:57 | 0:43:59 | |
the experience of a medical student would have been in those days. | 0:43:59 | 0:44:04 | |
We are in, almost in Burke and Hare days, digging up corpses, | 0:44:04 | 0:44:08 | |
operations being done without anaesthetic, so, Polidori was | 0:44:08 | 0:44:12 | |
steeped in this blood and pain and anguish, which he knew at first-hand. | 0:44:12 | 0:44:17 | |
Tensions had been growing all summer between Polidori and Byron. | 0:44:20 | 0:44:24 | |
The doctor was frustrated that Byron treated him like a lowly | 0:44:24 | 0:44:27 | |
employee, when he really wanted to be Byron's equal as a writer. | 0:44:27 | 0:44:31 | |
When Byron and Polidori came out to Lake Geneva, Polidori had | 0:44:33 | 0:44:38 | |
barely got to Dover before he was pulling out little plays | 0:44:38 | 0:44:42 | |
he had written and saying, "Would you like to listen to this?" | 0:44:42 | 0:44:45 | |
He was terribly proud of his talent | 0:44:45 | 0:44:47 | |
and foolish enough to say things to Byron like, you know, | 0:44:47 | 0:44:50 | |
"You and I are writers together," | 0:44:50 | 0:44:52 | |
which, you know, rather annoyed Byron. | 0:44:52 | 0:44:55 | |
Polidori was a brilliant young man. He had passed medical school at 19. | 0:44:55 | 0:45:01 | |
But what he wanted to be was Byron, | 0:45:01 | 0:45:04 | |
and what he could never be was Byron. | 0:45:04 | 0:45:07 | |
He didn't have the personality, he didn't have the charm, | 0:45:07 | 0:45:10 | |
he didn't have the talent. | 0:45:10 | 0:45:13 | |
The relationship is a very, very tense one. | 0:45:13 | 0:45:17 | |
Polidori was continuously mocked by Byron, | 0:45:18 | 0:45:22 | |
the whole time they were there. | 0:45:22 | 0:45:24 | |
He was taunting Polidori, calling him Dr Polly, ridiculing him, | 0:45:25 | 0:45:30 | |
making him feel small. | 0:45:30 | 0:45:32 | |
Everywhere they went, Polidori felt overshadowed by the famous poet. | 0:45:34 | 0:45:38 | |
Went to Geneva. Introduced to a room where, about eight, two ladies. | 0:45:39 | 0:45:45 | |
Lord Byron's name was alone mentioned. | 0:45:46 | 0:45:49 | |
Mine, like a star in the halo of the moon, invisible. | 0:45:49 | 0:45:55 | |
Polidori started to escape the villa and mingle with the social set | 0:45:57 | 0:46:01 | |
across the lake, a more sympathetic audience for his writing. | 0:46:01 | 0:46:07 | |
He began the tale of blood and lust which would become The Vampyre. | 0:46:07 | 0:46:11 | |
There was no colour upon her cheek, not even upon her lip. | 0:46:15 | 0:46:18 | |
Yet, there was a stillness about her face that seemed | 0:46:19 | 0:46:22 | |
almost as attaching as the life that once dwelt there. | 0:46:22 | 0:46:26 | |
Upon her neck and breast was blood, | 0:46:26 | 0:46:28 | |
and upon her throat were the marks of teeth having opened a vein. | 0:46:28 | 0:46:32 | |
To this, the men pointed, crying simultaneously, | 0:46:32 | 0:46:35 | |
struck with horror, "A vampire! A vampire!" | 0:46:35 | 0:46:39 | |
Polidori's story took elements of Byron's supernatural tale | 0:46:41 | 0:46:44 | |
from the night at the villa - | 0:46:44 | 0:46:47 | |
the exotic settings, the mysterious, aristocratic adventurer - | 0:46:47 | 0:46:51 | |
and developed them into a fully fledged vampire story. | 0:46:51 | 0:46:55 | |
But he did something remarkable. | 0:46:57 | 0:46:59 | |
In a kind of act of revenge, he used Lord Byron himself | 0:46:59 | 0:47:03 | |
as inspiration for the sinister creature. | 0:47:03 | 0:47:06 | |
It happened that in the midst of the dissipations | 0:47:08 | 0:47:11 | |
attendant upon a London winter, | 0:47:11 | 0:47:13 | |
there appeared at the various parties of the leaders of the town | 0:47:13 | 0:47:15 | |
a nobleman more remarkable for his singularities than his rank. | 0:47:15 | 0:47:20 | |
Up until that point, vampires, | 0:47:22 | 0:47:25 | |
in Eastern European legend, | 0:47:25 | 0:47:27 | |
were monstrous, they were creepy, | 0:47:27 | 0:47:30 | |
they were nasty and unpleasant. | 0:47:30 | 0:47:34 | |
They are disgusting and they have no redeeming features. | 0:47:37 | 0:47:41 | |
They are back from the dead, they want your blood, they are icky! | 0:47:41 | 0:47:45 | |
Polidori's vampire, however, displayed many of Byron's qualities. | 0:47:46 | 0:47:51 | |
Aristocratic decadence, predatory sexuality | 0:47:51 | 0:47:56 | |
and a seemingly endless appeal to women. | 0:47:56 | 0:47:58 | |
In spite of the deadly hue of his face, | 0:48:00 | 0:48:03 | |
which never gained a warmer tint, | 0:48:03 | 0:48:05 | |
either from the blush of modesty or the strong emotion of passion, | 0:48:05 | 0:48:09 | |
though its form in outline were beautiful, | 0:48:09 | 0:48:11 | |
many of the female hunters, after notoriety, | 0:48:11 | 0:48:16 | |
attempted to win his attentions | 0:48:16 | 0:48:18 | |
and gain at least some marks of what they might term affection. | 0:48:18 | 0:48:21 | |
This was a shocking transformation. | 0:48:24 | 0:48:26 | |
By giving his vampire a Byronic twist, | 0:48:26 | 0:48:29 | |
Polidori had created the first truly modern vampire story. | 0:48:29 | 0:48:33 | |
There had been vampires before Polidori. | 0:48:34 | 0:48:37 | |
None of them, as far as I know, | 0:48:37 | 0:48:38 | |
had been members of the English aristocracy. | 0:48:38 | 0:48:42 | |
And it was that, the fusion of Byron with the vampire world, | 0:48:42 | 0:48:48 | |
that he gave us. | 0:48:48 | 0:48:50 | |
And suddenly, the cool vampire came into the world. | 0:48:50 | 0:48:54 | |
Dracula would explore the cool vampire from another direction. | 0:48:56 | 0:49:01 | |
These days, you could fire crucifixes from your crucifix-firing | 0:49:01 | 0:49:08 | |
machine gun at 1000 vampires and not hit any who weren't cool, | 0:49:08 | 0:49:14 | |
lonely, Byronic and probably aristocratic. | 0:49:14 | 0:49:16 | |
By the end of the summer, Byron had had enough of Polidori. | 0:49:20 | 0:49:24 | |
He fired him. | 0:49:25 | 0:49:26 | |
And early in October, the poet's time in Geneva also came to an end. | 0:49:28 | 0:49:33 | |
Byron left for Italy. | 0:49:35 | 0:49:37 | |
But even the sensual delights on offer in Venice, | 0:49:37 | 0:49:39 | |
a city he called his "sea Sodom", | 0:49:39 | 0:49:42 | |
could not dispel the long shadow cast by the Villa Diodati. | 0:49:42 | 0:49:48 | |
Writing to a friend, he would lament his time in Switzerland, | 0:49:48 | 0:49:52 | |
where he had penned a new section of his poem, Childe Harold. | 0:49:52 | 0:49:56 | |
I was half mad during the time of this composition, | 0:49:57 | 0:50:00 | |
between metaphysics, mountains, lakes, love, | 0:50:00 | 0:50:06 | |
unextinguishable of thoughts, | 0:50:06 | 0:50:07 | |
unutterable in the nightmare of my own delinquencies. | 0:50:07 | 0:50:10 | |
I should, many a good day, have blown my brains out. | 0:50:15 | 0:50:18 | |
Apart for the recollection that | 0:50:18 | 0:50:19 | |
it would have given pleasure to my mother-in-law. | 0:50:19 | 0:50:21 | |
And even then, if I could have been certain to haunt her. | 0:50:21 | 0:50:24 | |
The Villa Diodati would fade back into the mists of literary history. | 0:50:36 | 0:50:41 | |
But the impact of the work sparked into life | 0:50:41 | 0:50:44 | |
by this heady summer had barely begun. | 0:50:44 | 0:50:46 | |
Mary continued to redraft Frankenstein, | 0:50:49 | 0:50:53 | |
finally publishing it in 1818. | 0:50:53 | 0:50:55 | |
The subject matter is so extraordinary. | 0:50:57 | 0:51:00 | |
No-one conceived it was by Mary Shelley. | 0:51:00 | 0:51:04 | |
They produce a very small number, 500 copies. | 0:51:04 | 0:51:07 | |
But it doesn't have a popular impact. | 0:51:08 | 0:51:11 | |
And if we look ahead, what really transforms it is, | 0:51:11 | 0:51:15 | |
a few years later, there is a dramatised version of it. | 0:51:15 | 0:51:18 | |
And it is a huge hit. | 0:51:20 | 0:51:21 | |
The early dramatised versions | 0:51:25 | 0:51:26 | |
turned a reflective tale into a creepy spectacle. | 0:51:26 | 0:51:30 | |
They silenced the creature | 0:51:31 | 0:51:33 | |
and shaped how we think of Frankenstein today. | 0:51:33 | 0:51:36 | |
But all versions share the original's central thought. | 0:51:37 | 0:51:41 | |
In this case, I think | 0:51:41 | 0:51:43 | |
it's one of the first warnings that science can run amok. | 0:51:43 | 0:51:47 | |
It is a constant warning to people to not overstep their own boundaries. | 0:51:48 | 0:51:53 | |
But people still keep doing it. | 0:51:53 | 0:51:55 | |
It's amazing, that's a lesson that we keep trying to | 0:51:55 | 0:51:59 | |
teach each other over and over, and yet, it never takes. | 0:51:59 | 0:52:02 | |
It's alive! It's alive, it's alive! | 0:52:02 | 0:52:05 | |
It's alive! | 0:52:05 | 0:52:07 | |
He has attempted to better the work of God. How rebellious. | 0:52:07 | 0:52:12 | |
But the result has not been... | 0:52:12 | 0:52:15 | |
It's not lived up to his expectations. | 0:52:15 | 0:52:18 | |
It's a "what if" story. You know, what if we could do this? | 0:52:20 | 0:52:23 | |
How would it work out? | 0:52:23 | 0:52:25 | |
It is a very, very serious book, it's not just a Gothic novel. | 0:52:27 | 0:52:31 | |
And I think the reason it goes on resonating | 0:52:31 | 0:52:34 | |
so much is that one can see so many different interpretations in it. | 0:52:34 | 0:52:40 | |
Trifling with science, how should science be used? | 0:52:40 | 0:52:44 | |
But it also is a book from which we can learn about ways to treat | 0:52:44 | 0:52:50 | |
somebody who doesn't look like us - | 0:52:50 | 0:52:52 | |
the creature certainly doesn't look like us. | 0:52:52 | 0:52:56 | |
It's a story about innocence, which is corrupted by man. | 0:52:56 | 0:53:00 | |
One year after Frankenstein, in 1819, The Vampyre was published. | 0:53:08 | 0:53:13 | |
But from the outset, there was confusion about who wrote it, | 0:53:14 | 0:53:18 | |
with Byron still identified by some as the author, even decades later. | 0:53:18 | 0:53:23 | |
I mean, ironic that when The Vampyre came out, it was successful, | 0:53:25 | 0:53:28 | |
but it was successful because first of all, | 0:53:28 | 0:53:31 | |
people thought it was Byron who had written it. | 0:53:31 | 0:53:33 | |
Byron himself came to hear about it and was absolutely furious. | 0:53:35 | 0:53:39 | |
And he, plainly, himself, did not think all that well of The Vampyre, | 0:53:39 | 0:53:43 | |
because he was extremely keen to quickly distance himself from it. | 0:53:43 | 0:53:48 | |
Polidori, however, was eager to claim the work. | 0:53:49 | 0:53:53 | |
And whatever its merits, by taking an ancient piece of folklore | 0:53:53 | 0:53:58 | |
and transforming its villain into a rapacious aristocrat, | 0:53:58 | 0:54:02 | |
Polidori created a powerful tale that resonated with the times. | 0:54:02 | 0:54:05 | |
He's channelling into anxieties of the time about a particularly | 0:54:06 | 0:54:11 | |
dissipated English aristocratic society, | 0:54:11 | 0:54:15 | |
a society which is far too complacent about | 0:54:15 | 0:54:21 | |
an alluring stranger being admitted into the midst. | 0:54:21 | 0:54:24 | |
I think vampires have represented different things at different times. | 0:54:27 | 0:54:32 | |
But there is always a level on which a vampire story is about sex. | 0:54:36 | 0:54:43 | |
And that's simply what they are about, you look at them, | 0:54:43 | 0:54:46 | |
sometimes it's subtext, sometimes it's text, | 0:54:46 | 0:54:50 | |
but there is sex in every vampire story. | 0:54:50 | 0:54:52 | |
It represented the untamed part of us, | 0:54:56 | 0:54:59 | |
the carnal part of us that cannot be denied. | 0:54:59 | 0:55:03 | |
If you deny it, it just grows stronger and more primal. | 0:55:03 | 0:55:08 | |
Two works, Frankenstein and The Vampyre, | 0:55:18 | 0:55:23 | |
that can both be traced back to one brief moment in time. | 0:55:23 | 0:55:27 | |
We don't normally get to know where things begin. | 0:55:28 | 0:55:32 | |
You know, you don't get to know what inspired a certain book, | 0:55:33 | 0:55:38 | |
what inspired something that changed the game for ever. | 0:55:38 | 0:55:44 | |
In this case, we actually have an origin story, | 0:55:44 | 0:55:47 | |
we know where Dracula began. We know where Frankenstein began. | 0:55:47 | 0:55:52 | |
We know where the twin pillars of horror fiction | 0:55:53 | 0:55:57 | |
that we stand on today began. | 0:55:57 | 0:56:00 | |
And it's in a house on a very rainy, thundery, miserable night, | 0:56:00 | 0:56:05 | |
by Lake Geneva. Perfect night to tell ghost stories. | 0:56:05 | 0:56:09 | |
But if the tales inspired by the time at the Villa Diodati | 0:56:16 | 0:56:20 | |
are still flourishing almost 200 years later, | 0:56:20 | 0:56:23 | |
there seems to have been something of a curse on the lives | 0:56:23 | 0:56:26 | |
of those five people who came together that giddy summer. | 0:56:26 | 0:56:30 | |
John Polidori died in 1821, shortly before his 26th birthday. | 0:56:33 | 0:56:38 | |
Unable to keep up with debts from gambling, | 0:56:39 | 0:56:42 | |
it's thought he killed himself by taking prussic acid. | 0:56:42 | 0:56:45 | |
Shelley drowned the following year | 0:56:47 | 0:56:49 | |
in the Gulf of Spezia in Italy after a sudden storm. | 0:56:49 | 0:56:54 | |
He was not quite 30. | 0:56:54 | 0:56:55 | |
Two years later, in 1824, Byron died from an illness after joining | 0:56:58 | 0:57:04 | |
the cause of the Greek Nationalists in their battle against the Turks. | 0:57:04 | 0:57:09 | |
He was 36 years old. | 0:57:09 | 0:57:11 | |
Claire never got over Byron and never married, | 0:57:14 | 0:57:18 | |
describing herself as "unhappily the victim of a happy passion". | 0:57:18 | 0:57:23 | |
Frankenstein established Mary Shelley as a writer. | 0:57:27 | 0:57:30 | |
Almost 25 years after the summer by Lake Geneva that inspired it, | 0:57:32 | 0:57:37 | |
she revisited the Villa Diodati and reflected on her time there, and how | 0:57:37 | 0:57:42 | |
her life since had had something of the character of a horror story. | 0:57:42 | 0:57:47 | |
At length, I caught a glimpse of the scenes among which I had lived | 0:57:50 | 0:57:54 | |
when first I stepped out from childhood into life, | 0:57:54 | 0:57:58 | |
there on the shores of Belle Rive to Diodati. | 0:57:58 | 0:58:03 | |
Was I the same person who had lived there, | 0:58:03 | 0:58:07 | |
the companion of the dead? | 0:58:07 | 0:58:09 | |
For all were gone. | 0:58:09 | 0:58:12 | |
Storm and blight and death had passed over and destroyed all. | 0:58:12 | 0:58:16 | |
While yet very young, I had reached the position of an aged person, | 0:58:17 | 0:58:21 | |
driven back on memory for companionship of the beloved, | 0:58:21 | 0:58:25 | |
to feel that all my life since was but an unreal phantasmagoria. | 0:58:25 | 0:58:30 |