1257

  • my imagination . . . sting me As on several earlier occasions in the novel (see I:3:11, I:4:18, I:6:24) the Romantic
    imagination is here connected with inner torment rather than transcendence. Instead
    of regenerating the psychic economy, the imagination preys across its isolated and
    wholly enclosed spaces.

    • 1252

  • my eyes . . . death Whatever the accruing psychological similarities between Victor and his Creature,
    this is the first indication that Victor is also growing into his physical counterpart.
    Perhaps, these signs of death are to be read from a moral perspective, as indicating
    how deeply implicated with spiritual decay is Victor's retreat from normal human interaction.

    • 1264

  • nearly a year had elapsed

    This would suggest that the date is in early August, since it was "in the latter end
    of August that [Victor] departed" (III:1:15) from Geneva.

    • 1268

  • nicer eye Nice here bears the significance of sense 12a of the Oxford English Dictionary: "Entering
    minutely into details; attentive, close." Elizabeth's frankness and perspicuity are
    testified to earlier by Victor upon his return to Geneva after William's murder (see
    I:6:41).

    • 1270

  • I had no choice but to adapt my nature As the Creature laments over Victor, he unwittingly uses language with which we have
    become familar through Victor's own usage. Here, it is the terminology of destiny.
    There is, however, an added recognition on his part that the course he embarked on
    was "willingly chosen," which is an acknowledgement that Victor would have been wont
    to suppress.

    • 1269

  • O Night, and by the spirits that preside over thee In all conventional mythologies Night is a figure of discord and threat. As she appears
    in Book I of Spenser's Faerie Queene, she is represented as "griesly Night, with visage
    deadly sad" (I.5.172), testifying that "I the mother bee/ Of falshood" (I.5.240-41).
    The eldest of divinities, she has unimpeded access to the depths of Hell. In Paradise
    Lost Night dwells with Chaos in the "dark/ Illimitable ocean without bound" (II.891-92)
    from which God creates Hell. Whatever Victor thinks he is doing by solemnly invoking
    Night to aid him in his revenge, it is clear, by all traditional associations, that
    no good will come of it.

    The observant reader may recall that the Creature invoked figures associated with
    the daytime in swearing before Victor that, if he were given a partner, he would never
    trouble his maker again (see II:9:17).

    • 1267

  • the new town The area to the north of the old town, between the Castle and the Firth of Forth,
    was developed during the eighteenth century and rapidly became the center of the vital
    cultural and intellectual life of the "Scottish Enlightenment." When Percy Bysshe
    Shelley and his first wife Harriet eloped to Edinburgh at the end of August 1811,
    they took lodgings in George Street in New Town.

    • 1266

  • new and dear objects of care will be born This statement carries a subtle resonance, reminding us that this was exactly the
    fear Victor entertained of his Creature if he were allowed a mate, except that his
    perspective on those "dear objects of care" was of "a race of devils [being] propagated
    upon the earth" (III:3:2 and note). Immersed as he is in irony, Victor does not notice
    the similarity between his state and that of his Creature.

    • 1271

  • no creature . . . history of man Victor's lot is doubtless a hard one, but the hyperbole by which he inflates it to
    a unique status in human annals is surely self-serving, the more so as this summary
    comes at so determined a break in the narrative thread.

    • 1272

  • for the guilty there is no peace Victor's self-conviction is once again expressed with neither mitigating excuses
    nor any sense of possible future exoneration. For him, truly, guilt has become a constant
    state of mind.
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