The Creature here quotes back to Victor a line from Percy Shelley's "Mutability" that
Victor had mused over that morning in ascending Montanvert (II:2:3). Although this
does stretch the imagination, it is indisputably another instance of the mirror effects
we discern in the relations of Creator and Creature.

That is, a family where seniority is honored for its wisdom and the generations respect
and support each other provides a model for a civilized community.

Although we have no guide to Mary Shelley's thought processes as she wrote this passage,
it is probable that the stanza from Percy Shelley's poetry she quotes at the end of
the paragraph caused her to think of another from the volume in which it was published
(or the causality might have been reversed, with that other passage first coming to
mind and prompting the remembrance of this stanza): whatever the case, this description
of mountain conifers strongly resembles the desolate final scene, actually drawn from
Shelley's experiences in Wales before he met Mary, of his poem "Alastor" (see lines
550-70). An early sketch of this same subject is contained in a poem in the early
notebook known as the Esdaile Notebook, a poem Shelley wrote in 1811 and never published,
called after its first line "Dark spirit of the desart rude."

On the other hand, the scenery of Switzerland, far more sublime than that of Wales,
afforded ample opportunity for Mary Shelley to observe the desolation that alpine
storms and glacial movement could visit on the pine forests of the mountains. There
is a description of such shattered trees in Letter 4 of A History of Six Weeks' Tour.
Byron offers another such passage in the second scene of Manfred, I.ii.66-74, which,
though begun later than Frankenstein, indicates at many points a common conceptual
origin.

Paradise Lost, John Milton's epic poem, was originally published in 1667 in ten books,
then revised by its author into the twelve-book form in which we read it today shortly
before his death in 1674. Containing the major creation myth of modern Europe, its
impact on Frankenstein is major and discernible from beginning to end. In the immediate
context of the Creature's discovery rather than of Mary Shelley's intertextual conception
of her novel, however, what is most significant is how he reads the epic as a key
to his self-understanding, even perhaps his self-fashioning.

The Creature, pressing his advantage, reminds Victor that the "new species" he has
created is herbivore and therefore in essence essentially non-violent.

Inside Victor's house the Creature had to negotiate around walls and through doors.
Outside he has no such obstacles.

Numa Pompilius, legendary second king of infant Rome, and Lycurgus, legendary lawgiver
of Sparta in the ninth century B.C., are compared as founding fathers in parallel
accounts by Plutarch. It is possible that the particular emphasis of these Lives contributes
to the Creature's decision, as it were, to become a founding father himself.

Here the Creature unconsciously echoes the sentiments of Victor Frankenstein ("if
our impulses were confined to hunger, thirst, and desire, we might be nearly free")
from earlier the same morning of their conversation (II:2:3). That the Creature speaks
of heat where Victor uses "desire" reflects his very first conscious experiences (II:3:3,
II:3:6), but desire is also at this point very much on his mind, as the ensuing paragraphs
will stress.

It is one thing for the Creature to utter a pantheistic oath (previous paragraph),
but to put a second immediately into the mouth of Victor is to emphasize that where
man plays God, he has no other deity to whom to turn to right his injustices but himself.

The elder De Lacey, we will soon learn, is blind.