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in Mary Shelley's day. Johnson's Dictionary (1755) lists the following two definitions:
- Pain of guilt
- Tenderness; pity; sympathetick sorrow
In both cases, but particularly in the first, remorse involves a passionate suffering
that could be likened to the action of poison.
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dependent upon his largess for their future welfare.
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chapters, it may come as something of a relief to acknowledge that he is still as
scientifically alert to the representations of physiognomy as he was shen he dismissed
Dr. Krempe's credentials on that basis (see I:2:12).
1290
An ancient city of Scotland, Perth was the Scottish capital until the mid-fifteenth
century, when Edinburgh succeeded it: the old parlimentary building was not, in fact,
razed until the year of Frankenstein's publication. The city is located on the river
Tay some twenty miles southwest of Dundee, where Mary Shelley spent nearly two years
-- from June 1812 to March 1814 -- at the home of the Baxter family.
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"personhood" is what is most at issue.
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marks, foreshadows the plot with a heavy ominousness. We perhaps have forgotten by
this point that on this issue there has been a much earlier foreshadowing, as in I:L4:26.
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immediate consequences to his act. His susceptibility to dismiss, or just miss, the
logical point, however, is not so much the result of chronic thick-headedness as it
is the effect of the egotism through which he filters all experience. His characteristic
assignment of a "destiny" to himself likewise testifies as much to his sense of self-importance
as to the determinism by which he attempts to deflect moral responsibility for his
actions from himself.
1286
If the reader regards this phrase ironically, it would seem commensurate (or nearly
so) with death. The last third of Frankenstein is dominated by the withdrawal of its
protagonists behind psychic barricades that wall them off increasingly from the forces
of life. Again, one senses the context of P.B. Shelley's recently-published Alastor;
or, The Spirit of Solitude behind Mary Shelley's text.
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reflects the devastation of Europe during the last phase of the Napoleonic Wars. However
self-serving or self-pitying we may find Victor's comparison, its political edge is
unmistakable and is perhaps intended by Mary Shelley, like other incidental political
observations in the novel, to insinuate a viewpoint that could not be explicitly stated
in the political climate of England in 1818.