1134

  • I, the native of a genial and sunny climate The atmosphere of the third volume of the novel, with the exception of the honeymoon
    excursion along Lake Geneva, has been so far from genial that the reader is enjoined
    at this point to recall the original balancing of the novel, in which the civilized
    bourgeois world of the Frankenstein household represents the beautiful against the
    sublime of Mont Blanc and the Creature whom Victor encounters there in the second
    volume (II:2:5).
  • 1137

  • in giving the life and spirit There is no little irony in this phrase, since Victor has already in a material sense,
    given "life and spirit" to his Creature and even to his Creature as "enemy." Given
    his manifest failure on the level of the actual, his desire to succeed on the level
    of the merely textual may be understandable, but it is no less morally problematic.
    Having the last word must be a poor substitute for acting with foresight and responsibility
    in the first place.
  • 1136

  • a gigantic monster As this paragraph suggests ("the fiend" . . . "the fiend" . . . "a gigantic monster"),
    the creation of an abnormal identity through naming has become wholly habitual on
    Victor's part. We have here, however, one last indication that, wherever the Creature
    goes, he is immediately accorded the status of monster by the human beings he encounters.
  • 1139

  • glorious creature

    The shading here seems deliberately suggestive of Milton's Satan. From the very first,
    the Satanic legions sense that the fall from heaven has diminished their spiritual
    essence, and, as in these early words of Satan's chief follower Beelzebub, that loss
    is expressed in terms of "glory."
    the mind and spirit remains
    Invincible, and vigour soon returns,
    Though all our glory extinct, and happy state
    Here swallowed up in endless misery. (I.139-42) The most resonant identification
    of diminished glory with the fall of the angels is uttered by Satan as he soliloquizes
    atop Mount Niphates at the opening of Book IV. There, as he addresses the Sun, the
    fallen archangel directly contrasts himself and God in terms of their manifestation
    of glory.
    O thou, that, with surpassing glory crowned,
    Lookest from thy sole dominion like the God
    Of this new world; at whose sight all the stars
    Hide their diminished heads; to thee I call,
    But with no friendly voice, and add thy name,
    O Sun! to tell thee how I hate thy beams,
    That bring to my remembrance from what state
    I fell, how glorious once above thy sphere;
    Till pride and worse ambition threw me down
    Warring in Heaven against Heaven's matchless King. (IV.32-41)

  • 1138

  • the glimmer of two eyes This is an unmistakeable reference to "Alastor," the poem Percy Bysshe Shelley published
    in March 1816 a few months before the excursion to Lake Geneva. The protagonist of
    that poem is haunted by the two eyes of a "veilèd maid" (line 151) of whom he dreamed
    and whom he subsequently pursues to the end of his life. As he dies his last glimpse
    is of "two lessening points of light [that] / Gleamed through the darkness" (lines
    654-55), an all-consuming ideal that is the ironic cause of his destruction.
  • 1141

  • Gower—Goring Gower in 1818; corrected to Goring in 1831. George Goring, Baron Goring (1608-57),
    was a scheming Royalist sympathizer who survived the collapse of the monarchy.
  • 1140

  • gnashed his teeth The Creature manifests the likeness of himself to Victor by replicating an act the
    reader has already identified as characteristic of his creator: see also I:L4:10,
    I:7:27, and note. The Creature had earlier gnashed his teeth when shot by the father
    of the girl he rescued (see II:8:20 and note): then, as here, he vowed revenge.
  • 1143

  • A grin was on the face of the monster Careful attention to detail here renders Victor's account dubious. With all lights
    extinguished so that the room is only illuminated by the moon, it would appear next
    to impossible for Victor so sharply to distinguish a visage that would be backlit
    in such circumstances. Neither the Creature's own narration in the second volume nor
    his account of his struggles with Victor Frankenstein at the end accords with such
    a perspective of fiendish exultation in evil. This portrait is, however, wholly commensurate
    with Victor's increasing tendency to demonize the Creature. See I:6:22, II:2:6, and
    III:3:2.
  • 1142

  • The Greeks wept for joy

    Mary Shelley refers to the account of the long Greek retreat from Armenia in Xenophon's
    Anabasis, 4.7, quoted here in the translation of Carleton L. Brownson (Cambridge:
    Harvard University Press, 1918):

    {329}
    [18] Leaving this land [of the Chalybians], the Greeks arrived at the Harpasus river,
    which was four plethra in width. From there they marched through the territory of
    the Scythinians four stages, twenty parasangs, over a level plain, and they arrived
    at some villages, and there remained for three days and collected provisions.

    [19] From there they journeyed four stages, twenty parasangs, to a large and prosperous
    inhabited city which was called Gymnias. From this city the ruler of the land sent
    the Greeks a guide, in order to lead them through territory that was hostile to his
    own.

    [20] When the guide came, he said that he would lead them within five days to a place
    from which they could see the sea; if he failed to do so, he was ready to accept death.
    Thus taking the lead, as soon as he had brought them into the hostile territory, he
    kept urging them to spread abroad fire and ruin, thereby making it clear that it {331}
    was with this end in view that he had come, and not out of good-will toward the Greeks.

    [21] On the fifth day they did in fact reach the mountain; its name was Theches. Now
    as soon as the vanguard got to the top of the mountain, a great shout went up.

    [22] And when Xenophon and the rearguard heard it, they imagined that other enemies
    were attacking in front; for enemies were following behind them from the district
    that was in flames, and the rearguard had killed some of them and captured others
    by setting an ambush, and had also taken about twenty wicker shields covered with
    raw, shaggy ox-hides.

    [23] But as the shout kept getting louder and nearer, as the successive ranks that
    came up all began to run at full speed toward the ranks ahead that were one after
    another joining in the shout, and as the shout kept growing far louder as the number
    of men grew steadily greater, it became quite clear to Xenophon that here was something
    of unusual importance;

    [24] so he mounted a horse, took with him Lycius and the cavalry, and pushed ahead
    to lend aid; and in a moment they heard the soldiers shouting, "The Sea! The Sea!"
    and passing the word along. Then all the troops of the rearguard likewise broke into
    a run, and the pack animals began racing ahead and the horses.

    [25] And when all had reached the summit, then indeed they fell to embracing one another,
    and generals and captains as well, with tears in their eyes. And on a sudden, at the
    bidding of some one or other, the soldiers began to bring stones and to build a great
    cairn.

    [26] Thereon they placed as offerings a quantity of raw ox-hides and walking-sticks
    and the captured wicker shields; and the guide not only cut these {333} shields to
    pieces himself, but urged the others to do so.

    [27] After this the Greeks dismissed the guide with gifts from the common stock --
    a horse, a silver cup, a Persian dress, and ten darics; but what he particularly asked
    the men for was their rings, and he got a considerable number of them. Then he showed
    them a village to encamp in and the road they were to follow to the country of the
    Macronians, and, as soon as evening came, took his departure.

    (text from the Perseus Project, Tufts University)

  • 1132

  • fury As with the other terms of this loaded paragraph, this word, when contemplated from
    the reader's perspective of Victor's biography, bears connotations by which it is
    unlikely he would have wanted himself represented. In essence, as he gives himself
    over to the raw fury of his rage, Victor seems to be acceding to the madness that
    has become progressively more accentuated in his account.