Category: Movies/TV Shows

Frankenstein; or, The Modern Prometheus

Volume I, first edition
Author	Mary Shelley
Language	English
Genre	Gothic novel, horror fiction, science fiction[1]
Set in	England, Ireland, Italy, France, Scotland, Old Swiss Confederacy, Russian Empire, Holy Roman Empire; late 18th century
Published	1 January 1818; 206 years ago (1818-01-01)
Publisher	Lackington, Hughes, Harding, Mavor & Jones
Publication place	England
Pages	280
Dewey Decimal	823.7
LC Class	PR5397 .F7
Preceded by	History of a Six Weeks' Tour
Followed by	Valperga
Text	Frankenstein; or, The Modern Prometheus at Wikisource

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, John Polidori, and Lord Byron had a competition to see who wrote 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]

Frankenstein is infused with elements of the Gothic novel and the Romantic movement, and the novel has had a considerable influence on literature and on popular culture, spawning 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.^[7][8][9]

Summary[edit]

Captain Walton introductory narrative[edit]

Frankenstein is a frame story written in epistolary form. Set in the 18th century, it documents a fictional correspondence between Captain Robert Walton and his sister, Margaret Walton Saville. Robert Walton is a failed writer who sets out to explore the North Pole in hopes of expanding scientific knowledge. After departing from Archangel, the ship is trapped by pack ice on the journey across the Arctic Ocean. During this time, the crew spots a dog sled driven by a gigantic figure. A few hours later, the ice splits apart, freeing the ship, and the crew rescues a nearly frozen and emaciated man named Victor Frankenstein from a drifting ice floe. 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[edit]

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 plans to marry. 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. Victor works at gathering the vital organs by pilfering charnel houses, mortuaries and by entrapping and vivisecting feral animals. Despite Victor 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 recovering he forgets about the Creature and goes into Clerval's study of Oriental languages, which he considers the happiest time of his academic career. This is cut short when Victor 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 testifies that it was the doing of the Creature; Justine is hanged. Ravaged by grief and guilt, Victor takes up mountain climbing in the Alps. While hiking through Mont Blanc's Mer de Glace, he is suddenly approached by the Creature, who insists that Victor hear his tale.

The Creature's narrative[edit]

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 that the son was going to marry a Turkish woman whom he was teaching his native language, which the Creature listened in on the lessons and taught himself to speak and write. The Creature also 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. Witnessing this, the monster renounced any hope of being accepted by humanity, and vowed to get his revenge. 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 a combination of Victor's journal and geography lessons gleaned from the family. When in Switzerland he chanced upon William who was at first frightened and the Creature held his wrist to calm him. When the boy screamed his full name and that he had powerful parents, this sparked the creature into killing the boy to spite Victor. The Creature then took William's locket and placed it into the dress of Justine, incriminating her as the murderer.

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[edit]

Clerval accompanies Victor to England, but they separate, at Victor's insistence, at Perth, Scotland. Travelling to Orkney to build the second creature, Victor suspects that the Creature is following him. As he works on the new creature, he is plagued by premonitions of disaster. He fears that the female will hate the Creature - or worse still - be even more evil than he is. Even more worrying to him is the idea that creating the second creature might lead to the creation of a race of beings just as strong as the monster who could plague humanity. 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 demands he repair his destruction and resume work, 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, and falls asleep in the boat. He awakens some time later, and is unable to return to shore due to a change in the wind, and falls unconscious, drifting to Ireland. When Victor awakens, he is arrested for murder. Despite the severity of the charges, he is met with sympathy from the magistrate in charge of the trial, which suggests that the case is crumbling. Victor is acquitted when eyewitness testimony confirms that he was in Orkney at the time the murder took place. However, when shown the murder victim, Victor is horrified to see it was Henry Clerval, whom the Creature strangled as part of his promise to kill all his friends and family. Victor suffers another mental breakdown and after recovering, he returns home with his father, who has restored to Elizabeth some of her father's fortune. His father does not know of the cause behind the murders of William and Henry, but senses a curse and begs Victor to honor his mother's last wish that Victor marry Elizabeth.

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 across Europe and Russia, though his adversary stays one step ahead of him at all times. 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[edit]

At the end of Victor's narrative, Captain Walton resumes telling the story. A few days after the Creature vanishes, the ship is trapped by pack ice for a second time, 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. Knowing that continuing on would surely result in mutiny, Walton agrees to abandon the voyage and return home, but Victor, despite his condition, declares that he will continue to hunt the Creature, and is adamant that he must be killed.

Victor dies shortly thereafter, telling Walton, in his last words, to seek "happiness in tranquillity 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 burn himself on a funeral pyre so that no one else will ever know of his existence. Walton watches as the Creature drifts away on an ice raft, never to be seen again.

Author's background[edit]

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.^[10] 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.^[11]

In the summer of 1816, Mary, Percy, and Claire took a trip to visit Claire's lover, Lord Byron, in Geneva. Poor weather conditions, more akin to winter, forced Byron and the visitors to stay indoors. To help pass time, 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.^[12] Historians suggest that an affair occurred too, even that the father of one of Shelley's children may have been Byron.^[11] Mary was just eighteen years old when she won the contest with her creation of Frankenstein.^[13][14]

Literary influences[edit]

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.^[15] Ovid also inspires the use of Prometheus in Shelley's title.^[16]

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 likely source is 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.^[17]

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,^[18] 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.^[19] 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.^[14]

Composition[edit]

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.^[20][21] 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.^[22] Byron proposed that they "each write a ghost story."^[23] 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."^[24] 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".^[25] 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.^[26]

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.^[27]

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.^[28] She later described that summer in Switzerland as the moment "when I first stepped out from childhood into life."^[29] Shelley wrote the first four chapters in the weeks following the suicide of her half-sister Fanny.^[30] 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.^[31] Shelley wrote much of the book while residing in a lodging house in the centre of Bath in 1816.^[32]

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.^[33]

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.^[34][35] 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.^[36]

Frankenstein and the Monster[edit]

The Creature[edit]

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.

Newspaper illustrations from abridged versions of Frankenstein, 1910

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,^[38] 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:^[39]

Did I request thee, Maker, from my clay

To mould Me man? Did I solicit thee

From darkness to promote me?^[40]

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.^[41]

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."^[42] Edith Wharton's The Reef (1916) describes an unruly child as an "infant Frankenstein".^[43] 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.

Origin of Victor Frankenstein's name[edit]

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.^[45] 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.^[46] Finally,

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Year 300 (CCC) was a leap year starting on Monday (link will display the full calendar) of the Julian calendar. At the time, it was known as the Year of the Consulship of Constantius and Valerius (or, less frequently, year 1053 Ab urbe condita). The denomination 300 for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years.

Events[edit]

By place[edit]

Roman Empire[edit]

• Emperor Diocletian begins construction of a palace that will become the city of Split (approximate date). Diocletian, who plans on abdicating, intends to use this palace as his place of retirement.
• Caesar Constantius I wins a victory over the Franks (approximate date).

Asia[edit]

• The lion becomes extinct from Armenia (approximate date).
• The Yayoi period ends in Ancient Japan (approximate date).^[1]
• Wootz steel is developed in India (approximate date).
• The Kama Sutra, an Indian handbook on the art of sexual love, is probably produced around this time by the sage Vatsyayana.
• Micheon becomes ruler of the Korean kingdom of Goguryeo.^[2]

Africa[edit]

• The elephant becomes extinct in North Africa (approximate date).
• The Atlas wild ass becomes extinct (approximate date).

Mesoamerica[edit]

• The Formative/Preclassic period in Mesoamerica comes to an end approximately around this year.
• The Mayan civilization reaches its most prolific period, the classic period, in what is now Guatemala, Belize and parts of southern Mexico adjacent to the former two. During most of this period, Tikal dominates the Mayan world.

By topic[edit]

Art and Science[edit]

• The magnetic compass for navigation is invented in China (approximate date).
• The Panchatantra, a Sanskrit collection of fables and fairy tales, is written in India.
• The Tetrarchs are probably made in Egypt. After 330 they are moved to Constantinople and in 1204 they are installed at the corner of the facade of the St Mark's Basilica, Venice (approximate date).
• Diocletian's Palace, Split, Croatia, is built. Its model is nowadays kept at the Museo della Civilta Romana, Rome.

Religion[edit]

• Peter of Alexandria becomes Patriarch of Alexandria.
• Possible date of the Codex Vaticanus Graecus 1209 and Codex Sinaiticus, manuscripts of the Bible written in Greek.
• Tiridates III makes his kingdom of Armenia the first state to adopt Christianity as its official religion.
• Approximate date of the Synod of Elvira in Elvira, Spain, which prohibits interaction with Jews, pagans, and heretics.

Births[edit]

• Aemilia Hilaria, Gallo-Roman physician (approximate date)
• Flavius Hermogenes, Roman prefect and politician (d. 361)
• Frumentius, Syrian missionary and bishop (approximate date)
• Hilary of Poitiers, Gallo-Roman bishop (approximate date)
• Li Shou, Chinese emperor of the Cheng Han Dynasty (d. 343)
• Macarius of Egypt, Coptic Christian monk and hermit (d. 391)
• Min of Jin, Chinese emperor of the Jin Dynasty (d. 318)
• Zeno of Verona, Christian bishop and martyr (approximate date)

Deaths[edit]

• Jia Mi, Chinese general, official and politician
• Jia Nanfeng, Chinese empress of the Jin Dynasty (b. 257)
• Liu Ling, Chinese scholar and poet (b. 221)
• Lüzhu, Chinese dancer, singer and music teacher
• Pan Yue, Chinese poet and writer (b. 247)
• Pei Wei, Chinese philosopher and politician (b. 267)
• Shi Chong, Chinese politician and statesman (b. 249)
• Sima Yu, Chinese prince of the Jin Dynasty (b. 278)
• Sporus of Nicaea, Greek mathematician (approximate date)
• Zhang Hua, Chinese official, scholar and poet (b. 232)

References[edit]

Look up scarface in Wiktionary, the free dictionary.

Scarface may refer to:

Gangster-related[edit]

• Scarface (novel), a novel by Armitage Trail, loosely based on Capone's rise to power
  • Scarface (1932 film), a film starring Paul Muni
  • Scarface (1983 film), a remake starring Al Pacino
    • Scarface (soundtrack), a soundtrack for the 1983 film
      • "Scarface (Push It to the Limit)", a 1983 song from the Scarface soundtrack
    • Scarface: Money. Power. Respect., a 2006 PlayStation Portable game
    • Scarface: The World Is Yours, a 2006 video game
    • Scarface (iOS game), a 2012 role-playing iOS game

Characters[edit]

• Scarface (comics) or Ventriloquist, an enemy of Batman
• Scarface (Kinnikuman), a character in Kinnikuman Nisei
• Scarface, a character in The Animals of Farthing Wood
• Scarface, a character in Mega Man X: Command Mission
• Scarface, a character in Predator: Concrete Jungle
• Scarface or Vy Low, a character in Shadow Skill
• Scarface, a character in Smash TV
• Scarface One, a character in Ace Combat 2
• Tony Montana, the protagonist of Scarface (1983) and Scarface: The World Is Yours, nicknamed "Scarface"

Other uses[edit]

• Scarface (rapper) (born 1970), American, member of the Geto Boys
• Scarface, nickname of José Aldo (born 1986), Brazilian mixed martial artist
• Scarface (lion)

See also[edit]

• Scarface Charley (1851–1896), chief of the Modoc Native American tribe
• Scarface Claw, a fictional tom cat in Hairy Maclary children's stories
• Scarface gang, a Belgian criminal gang responsible for armed robberies
• Scarface Nation, a 2008 book on the 1983 film Scarface

This disambiguation page lists articles associated with the title Scarface.
If an internal link led you here, you may wish to change the link to point directly to the intended article.