As with the double resonance of "wretch" at the end of the previous paragraph, here
Victor applies to himself the term he had used to refer to the Creature three paragraphs
earlier.

Nothing in the Creature's statements in the previous paragraph—particularly given
the stark alternatives he lays before Victor at its end—suggests that he is exulting
at this point. Rather, the remark along with the epithet convey Victor's intrinsic
sense of superiority and of his right to wield a power capable of affording satisfaction
to an underling. Whatever Victor may regard as "the duties of a creator," they do
not yet forestall him from calling his creature a "fiend" and regarding him as "odious."

At the beginning of the chapter he bore the neutral term "being"; but, as Victor indulges
his rage, so the Creature's identity changes for him as well.

What the Creature does not know is that this will also be the last such expression
of kindess directed to him.

This calm reconsideration of his actions attests to the analytical capacities of the
Creature and pictures him once again as superior to those who spurn him. On a darker
side, it also exhibits him in the process of internalizing himself as Other and of
reifying a concept of normative reality in which he lacks any secure place.

Where Victor hedges, the Creature counters: as "evil passions" the phrase Victor employed
four paragraphs before, will disappear within an ambience of sympathy, so (as "vices")
they are the product of solitude. Again, we hear the resonance of the title of Percy
Bysshe Shelley's "Alastor; or, the Spirit of Solitude," published a few months before
Frankenstein was begun (see II:8:21 and note).

In ordinary circumstances this would not seem so absurd a question. The fact that
the Creature lacks a national identity, however, throws into relief how deeply embedded
are national prejudices even among the enlightened. We have already witnessed in the
French reaction to Safie's father (II:6:3) and in his abuse of Felix's kindness (II:6:12)
how mean-spiritedness is served by national identity. Part of Volney's aim in Les
Ruines is to eradicate such defining ideological concepts. That the Creature is thus
born without them indicates his superiority and, ironically, is a further example
of how he does not fit into normative human society.

Up to this point all the expression of sympathy has come as a surmise of the Creature's
about the cottagers. This assertion reminds us that for something like a year the
Creature has intervened actively to assist the cottagers in their daily existence.
His fellow-feeling has, indeed, extended into kind actions on their behalf. The heavy
irony behind this scene is that all the Enlightenment virtues the Creature has presumed
to be attributes of the cottagers have been employed by him on a daily basis.

The snowdrop, a common subject of poems on fragile beauty and mutability, often associated
with young women, in the late eighteenth century. Like the crocus, the snowdrop blooms
in late winter.

In his pain and anger the Creature imitates the actions of Victor Frankenstein twice
noted in the first volume (I:L4:10 and note; I:7:27 and note) and again at the beginning
of the second (II:1:6 and note). The Creature will again be portrayed as gnashing
his teeth in the third volume (III:3:13). The prototype for this behaviour remains
the Satan of Milton's Paradise Lost, VI.340.